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AMATEUR  WORK, 


ILLUSTRATED. 


A  PRACTICAL  MAGAZINE  OF 

CONSTRUCTIVE  AND  DECORATIVE  ART  AND  MANUAL  LABOUR. 


WITH    SUPPLEMENTS, 

Containing  Designs  ana  tEorking  trainings  to  ^rak,   for 
Various   pieces  of  Work,   Earful  ana   ODrnanuntal, 

AND 

SEVERAL     HUNDRED     ILLUSTRATIONS. 


VOLUME    III.— NEW    SERIES. 


WARD,    LOCK,    BOWDEN    &    CO., 

LONDON,   NEW   YORK,   AND   MELBOURNE. 


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INDEX    TO   VOLUME    III.    (NEW   SERIES), 


for 


PAGE 

Alarm  to  Clock,    How  to   Attach  an 

Electric       211 

Albumen  Paper  for  Blue  Prints  ...  10 
Amateur  Bookbinders,  Some    Hints 

for      34 

Amateur  Conjuring. 

I.  What   to   do  and  how   to   do  it- 
Properties  for  Fitting  Up  --.     30 
II.  A  Xew  kind  of  Multiplying  Coin...     69 

III.  A    New    Magic    Wand    for    Card 

Tricks  i23 

IV.  Card  Producing  Wand  (continued)  173 
V.   An  Effective  Sleight- of- Hand  Trick  243 

VI.  A  Cabinet  of  Marvels  272  ( 

VIZ.   Illusion  (continued)  ...  ...  ...  314  , 

VIII.  The  Mysterious  Drum         384  ' 

Amateur     Jewellery :     Manipulation 

and    Repairs        113 

Amateurs  Photographic  Studio      ...  2S9  1 
Amateur  Wood-engravers,    Wrinkles 

for 491 

Architectural  Hall  Chair  232 

Artistic,  Picture^  Frames  made  from 

Cot  *i^         ...         ...  209 

Asbestos   Blow-Pipe        22 

Bailee.  An  Electrical 1 

Bamooo  Work,  A  Gong  Stand  in  ...  90 
Bamboo  Work,  A   Stove  Screen    and 

Music  Holder  in 313 

rBanjo  Makers,  Wrinkles  for 358 

Bath.     A       Combined      Fixing     and 

1    Toning         ...         ...         ...         ...         ...     42 

Battery  for  Experimenting,  A 80 

Bayonet-jointing   a   Lens,    A  Simple 

Method  of 116 

Bedroom  Overmantel,  A  Simple  ...  193 
Bedside  or  Pedestal  Cupboard,  A  ...  332 
Bell,  The  Electric— See  Electric  Bell. 

Blacking,  A  Good  Stove 300 

Black      Polish     on      Brass,     How    to 

Obtain         211 

Blow-Pipe,  Asbestos        22 

Blue  Prints,  Albumen  Paper  for  ...  10 
Bookbinders,   Amateur,  Some  Hints 


34 
306 


Bookbinders,  Wrinkles  for 

Book  Cabinets,  Revolving.—  See  Re- 
volving Book  Cabinets. 

Bookcase  with  Sliding  Doors 

Book-rest,  A  Folding       

Book-rest,  A  Pocket         

Bracket,  A  Plush 

Bracket,  A  Design  for  Corner 

Bracket  in  Fretwork,  Design  for 

Brasses,  Rubbings  of  Monumental 

Brass-mounting  in  Furniture,  To 
Renew  

Brass  Work,  To  obtain  Violet  Colour 

on       

Broken  Piaster  Casts,  To  Mend 

Bronze,  Liquid         j 

Bronze  Plaster  Casts,  To  

Cabinet.    A    Portable    Photographic 

Developing 223 

Cabinet,  A  New  Coin      7o 

Cabinet,  A  Quaint  Corner        28 


432 

16 

410 
197 


PAGE 

Cabinet,  Revolving  Book. — See  Re- 
volving Book  Cabinet. 

Cameras,  Detective  573 

Camera,  An  Easily  Made  1S2 

Camera,    How  to    Make    a    Portable 

Whole-plate  547 

Cardboard  Dark  Slide  for  Photo- 
graphers, A  473 

Carpet  and  Floor-cloth  Laying,  Hints 

on       54 

Carriage  Jack,  A 195 

Casts,  To  Bronze  Plaster  197 

Casts,  To  Mend  Broken  Plaster        ...     16 
Cement  for  Fastening  Glass  to  Tin...  535 

Cement  on  Tiles,  To  Remove 345 

Chain,  How  to  Casta     390 

Chair,  An  Architectural  Hall 232 

Chair,     An      Old      English,    in      Cut 

Leather       436 

Chair,  A  Swinging  Hammock. — See 
Swinging  Hammock  Chair. 

Chameleon  Table,  A       386 

Chestnut  Roaster,  A        39 

Chicken-coop  and  Run,  A         566 

China-Painting,  More  Hints  on        ...  336 

Chinese  Varnish 500 

Chucks  for  My  Lathe. 

I.  The    Driving    Chuck— The    Face- 
plate and  its  Attachments — The 
Drill  Chuck— The  Bell  Chuck— 
The  Mandrel — Wooden  Chucks — 
The  Pipe-maker's  Chuck...         ...     n 

II.  The  Independent  Four-jaw  Chuck     74 
Church  Clocks  :    How  to   Make  One 
for  a  Trifle. 
I.  Introduction — Wheels — Frame — 
Escapement — Drum  for  Winding 
— Maintaining  Power        ...         ..    470 

II.  Weight  Carried  on  Pulleys— Steel 
Wire  Rope  —  Centre  Wheel  — 
Escape  Wheel  — Pallet— Pallet 
Arbor  with  Attachments — Pendu- 
lum —  Mercurial     Compensation 

Pendulum     526 

III.  Dead-beat,  or  '•  Graham"  Escape- 
ment —  Double  Three  -  legged 
Escapement — Fly — Dial  Work — 
Illuminated  Dial — Hands — Con- 
clusion   595 

Circular  Saw  by  Wind  Power. — See 
How  to  Drive  a  Lathe  and  Circular 
Saw. 

Cleaning  Soiled  Engravings    16 

Clock,  Electric  Alarm  to  211 

Clothes   Sprinkler,  A        197 

Coal  Box,  A  Fancy  79 

Coin  Cabinet,  A  New       70 

Coloured  Photos 569 

Colour  Photography       457 

Combination  Table,   Cupboard,  and 

Coal  Box,  A  282 

Combined  Toning  and  Fixing  Bath, 

A         42 

Conjuring,    Amateur.—  See    Amateur 

Conjuring. 
Constant  Level  Inkstand,  A  New       ...  304 
CornerCupboard  with  Curved  Front, 
Design  for  a        521 


PAGE 

Covering  for  Steam  Pipes        476 

Crane,  How  to  Make  a  Model 
Electric— See  Electric  Crane. 

Crib  for  the  Youngster,  A      82 

Cube  on  the  Lathe,  How  to  Turn  a  ...  326 
Cupboard,  A  Bedside  Pedestal  ...  332 

Cupboard,    with    Curved     Front,    A 

Corner        521 

Cupboard,  A  Lavatory    ...         477 

Cupboard,  A  Medicine 451 

Cutter,  A  Model      218 

Cyclists,  Wrinkles  for      237 

Dark    Room,  A    Frame  with   Sliding 

Sashes  for 185 

Dark  Slide,  A  Cardboard  473 

Davenport  Writing  Desk,  with  Con- 
cealed Flap,  A 199 

Deer  Horns,  To  Polish 546 

Designs    for  Hanging    Shelves    and 

Corner  Brackets 3°5 

Design   for    Corner    Cupboard    with 

Curved  Front       521 

Design  for  Fretwork  Bracket 557 

Design    for    Overmantel     in    Carved 

Wood  483 

Designs,  Three,  for  Fretworkers       ...  608 

Detective  Cameras  573 

Developing      Cabinet,     A      Portable 

Photographic       223 

Dialyte  Telescope 605 

Dishes,  To  Coat  Tin         54 

Dissolving  Spectres         461 

Distributor,  An  Electric 469 

Drawing-room  Overmantel,  A 432 

Drawings  or  Diagrams  for  Lantern 
Use  without  the  Aid  of  Photo- 
graphy         202 

Drill  Clamp,  A         190 

Drying  Rack,  A  Negative  112 

Easel  Portfolio,  An  496 

Easel,  Handy 577 

Easily  Made  Camera,  An  182 

Easily  Made  Printing  Press      '564 

Electric   Alarm   to   a   Clock,   How  to 

Attach  an ■       211 

Electric  Bell :  How  to  Construct  it. 

I.  Temperature — Materials — Swedish 

Iron  —  Magnet — Cores — Frame — 
Bobbins — Armature  ...         ...  345 

II.  Action  of  Electric  Bell  Explained — 
Trembling  Bell— Wooden  Base- 
Fitting  Frame — Box — Tables  I. 
to  VI 395 

III.  Varieties  of  the  Electric  Bell         ...  446 

IV.  Methods    of    Connecting    up     for 

Various    Purposes — The     Morse 

Key 487 

V.  Lines  —  Pressel  —  Line  Wires_ — 
Underground     Wires  —  Outside 

Wires— Conclusion  536 

Electric      Crane,    How    to    Make    a 
Model. 
I.  Making  the   Truck,  Platform,  and 

Crane  Arm   ... 294 

II.  Motors  —  Starting    and    Stopping 

Levers  —  Connections  —  Painting 

— Conclusion  32° 


INDEX   TO    VOLUME  III.    {NEW  SERIES). 


I' AGE 

Electric  Distributor,  A'n 469 

Electric  Fire  Engine,   How  to  Make  a 

Model  605 

Electric  Lighting  for  Amateurs. 

I.  Introductory  Considerations — The 
Value  of  Electric  Lights— Light- 
ing Powers,  etc.      ...         ...         ...  356 

II.  Small  Dynamos  for  Electric  Light- 
ing— The  Siemens  Dynamo — 
Dimensions  and  Price  of  Dynamo 
Castings        366 

III.  Power  Required  to  Work  Dynamos 

— How  to  Arrange  the  Lamps — 
Safe  Carrying  Capacity  of  Wires 
and  Cables  —  Edison  -  Swan 
Lamps — Switches— Cut  Outs,  etc.  436 

IV.  Electric  Lighting  by  Batteries— A 

Four-Celled  Single  Fluid  Chromic 
Acid  Battery — A  Double  Fluid 
Chromic  Acid  Battery— Batteries 
for  Night  Lights 480 

V.  Electric  Lighting  by  Accumulators 
or  Secondary  Batteries — Plates 
for  Accumulators— Forming  the 
Plates— Making  and  Charging 
the  Cells       552 

VI.  Pocket  Accumulators  —  Electric 
Jewellery  —  Making  a  Pocket 
Accumulator  ...         ..  ...  592 

Electric  Roundabout        492 

Electric  Seesaw      529 

Electrical  Balance,  An 1 

Electroscopes  379 

Enamel  Paint,  How  to  Use        21 

Enamelling  Photo  Prints  100 

Engine,  A  Lever 147 

Engine    without   a  Connecting  Rod, 

An      15 

Engraving,    Wood.—  See    Wood    En- 
graving. 
Engraving     on       Glass    for      Magic- 
lantern  Slides,  To  Transfer 222 

Engravings,  Soiled,  To  Clean 16 

Equatorial  Mounting  for  Telescopes. 

— See  Telescopes. 
Etching  Metals,  A  New  Method  of    ...     35 

Fancy  Coal  Box,  A...         79 

Fancy  Tables,  Two  340 

Fastening  Glass  to  Tin,  Cement  for     535 
Few  Notes  on  Furniture  Revivers,  A     411 

Few  Ideas  in  Woodwork,  A        157 

Fire  Engine,  Electric       605 

Fitments  for  Rooms        599 

Flash  Light,  A  Magnesium       99 

Flower  Pot  Cover,  A  Sussex     331 

Flowers,  To  Make  Wax 516 

Folding  Book-rest,  A       534 

Folding  Music  Stand,  A 143 

Folding  Tray-shelf,  A      220 

Footstool,  A  Strong,  Useful  Nursery    129 

Force-pump,  A  Model     53 

Forms    and    Stools,    How    to    Make 

Them  174 

Frame,  An  Artistic  Picture       2oy 

Frame,    with      Sliding     Sashes,    for 

Photographic  Dark  Room    185 

Frames,  Two  Photo  118 

Framing,  Picture 204 

Fret-saw  for  Lathes,  A  Simple  ...     85 

Fretwork,  A  Design  for  Bracket        ...  557 

Fretwork  Note  Rack,  A 253 

Fretwork,  or  Inlay  Designs      274 

Fretworkers,  Three  Designs  for      ...  60S 
Furniture  Revivers,  A  Few  Notes  on      411 
Furniture,  To  Renew  Brass  Mounting 
on       14 


Gasfitting  for  Amateurs. 

I.  Tools  — Pipe— Fixing  Pendant  — 

Blowing  Joints— Pipe  Hooks  ...  541 
II.  Boring  with  Bell  Bit— Supports  for 
Pipe  under  Floor— Cutting  Hole 
in  Pipe— Pipe  Tongs— Gas  Pliers 
— Screw-plate  —  Tube  Cutters- 
Cork  Slide  Pendant  —Testing  for 

Escape — Conclusion         602 

Gold-leaf      and       Pith-ball      Electro- 
scopes, How  to  Make  379 

Gong  Stand  in  Bamboo  Work 90 

Governor  for  Model  Engine     287 

Hall     Chair     in    Ash    or    Oak,    Easy 
Construction  of  an  Architectural     232 

Hall  Stand,  How  to  Make  a       417 

Hall,  Treatment  of  Old-fashioned    ...     30 
Hammock    Chair,  A    Swinging.— See 
Swinging  Hammock  Chair. 

Handy  Easel 577 

Hanging  Lamp  and  Jardiniere  ...  590 

Hanging  Shelves,  Design  for 365 

Hints  for  Amateur  Bookbinders       ...     34 
Hints     on    Carpet    and     Floor-cloth 

Laying         54 

Hints  on  China  Painting,  More         ...   336 
Hints  on  House  Decoration  by  Photo- 
graphy.— See  House  Decoration. 

Hints  for  Student  Decorators 306 

Hot     Water      Fittings_    for     Small 
Houses. 
I.  Scope  of  these   Papers— Theory  of 
Hot  Water  Circulation — An   In- 
teresting Experiment — The  Tank 
System  Explained — Best  Form  of 

Boiler— Cost 86 

II.  Fitting    Up    the    Pipes  —  Making 
Connections — Size    and    Position 
of  Tanks       ...         ...         ...      ,   ...   131 

III.  Baths  and  their  Fittings — Taps — 
Overflow  Pipe— Waste  Water — 
Safety  Trays  —  Precaution  in 
Using  Hot  Water  Systems  — 
Randall's  Patent  Taps  —  Con- 
cluding Remarks 190 

House  Decoration  by  Photography, 
Hints  on. 
I.  Selection  of  Negatives — Opalines 
for  Ornamenting  a  Table  —  A 
Chess  Board  —  Door  Panels  — 
Transparencies  and  their  Produc- 
tion— Method  of  Mounting         ...     58 

II.  Films  for  Transparencies — A  Lamp 

Shade  — Ivory  Films— A  Hall 
Lamp  —  Transferotype  Paper  — 
Lamp  Globes — Cups  —  Plates  — 
Opals  —  Opal  Enlargements  — 
Printing  on  Fabric  —  Novel 
Method     of     Decorating     Chair 

Backs 107 

III.  Hall   Lantern— Candle    Brackets- 
Medicine        Cupboard   —  China 
Cheese     Stand — Flower     Bowl — 
Method     of     Mounting     Trans- 
parencies— Hand     Screens — Fire 
Screens  —  Hanging      Basket  — 
Jardiniere     ...         ...         ...         ..,   165 

House   Steps:    How  to    Make  a  Pair 

of       555 

How  to  Make-up  for  the  Stage.—  See 
Make-up  for  the  Stage. 

Ideas  in  Woodwork,  A  Few     157 

Improved  PipeCleaner,  An       ...         ...  476 

Index,  A  Rough    and    Ready  Way  to 

make  an 210 

Inlay  Designs  274 

Inkstand,  A  New  Constant  Level        ...  304 

Jack,  A  Carriage 195 

Jardiniere      590 

Jewellery,     Amateur,     Manipulation 

and  Repairs  of 113 

Joint    between    Glass    and    Zinc,    A 

Water-tight  35 

Knife  Cleaner,  A  Simple  ..:         ...     96 


PAGF. 

Lamp,  Hanging       590 

Lathe,  Chucks  for   My. — See   Chucks 

for  My  Lathe. 
Lathe,  How  to  Turn  a  Cube  on  the...  326 
Lathe,  A  Simple  Fret-saw  for  the     ...     85 
Lathe    and    Circular    Saw   by    Wind 

Power,  How  to  Drive. 

I.  Introduction 256 

II.  Uprights  — Vertical  Axle  —  Cog- 
wheels—  Reversing  Gear  —  Con- 
clusion   278 

Lavatory  Cupboard,  A     ,      ...  477 

Leaf-turner,  A  Magnetic 350 

Lens,  Bayonet  Jointing  a         116 

Lever  Engine,  A      147 

Leyden  Jar,  How  to  Make  a      169 

Lighting,      Electric.  —  See      Electric 
Lighting. 

Limes  for  the  Lantern 550 

Liquid  Bronze         4ID 

Locomotive,  How  to  Make  a  Model  ...  522 
Magic   Lantern,    How  to    Make   and 
Use   it,  with    Full    Instructions  for 
Making  a  £50  Outfit  for  £5. 
I.   Introduction  —  The    Body  —  What 
Wood    to   Use — Details    of   Con- 
struction             36 

II.  The  Plinth— A  Case  for  the  Lan- 
tern —  Lining  the  Body— The 
Lenses  67 

I I I  Fitting  the  Condensers— Carriers- 

Lens  Tubes  Mo 

IV  The   Lenses— Where    to    Buy  and 

How  to  Fit  Them— The  Burneis  160 
V    A  New  System  of  Dissolving— Fit- 
ting the  Gas  Tubes— The  Rolling 
Curtain    Effect— Lacquering    the 
Brasswork— The  Retort— Purifier 

and  Gas  Bag  238 

VI  Making  the  Gases— Ether  Satu- 
rator— Using  the  Light  for  Stage 
Purposes— A  Word  about  Limes  2E6 

Magic  Lantern,  Limes  for        55° 

Mrgic  Lantern  Slides,  To  Transfer 

Engravings  for 222 

Magnesium  Flash  Light 99 

Magnetic  Leaf-turner,  A  350 

"  Make-up  "  for  the  Stage,  How  to. 
VI.  Female  Make-up -Youthful  Cha- 
racters—  Costume  Characters  — 
Elderly  Ladies— Character  and 
Low  Comedy  Parts— General  Re- 
marks on  Making-up  for  Ladies- 
Dodges— Secret  Recipes,  etc. ,  etc.  25 
VII.  The  Effects  of  Lines   in   Altering 

Expression ^2 

VIII  Making-up  for  Various  Characteis 
_  Low  Comedy  and  Character 
Parts— Lawyers— Country  Lad- 
Soldiers  —  Sailors,  etc.  —  Death , 
Wan  and  Sallow  Complexions- 
Dark  Complexions 142 

IX.  Making-up  for  Various  Characters 
(continued)  —  The  Diunkard  — 
Types  of  Different  Nations, 
Scotch,  Irish,  French,  Germans, 
Russians,  Italians,  Spaniards, 
Portuguese,  Danes,&  Wallachians  170 

X.  National  Types  (continued), 
Chinese,  Japanese,  Egyptians, 
Arabs,  Persians,  Hindoos,  Ne- 
groes, American  Indians,  Other 
Characters,  Clowns,  Pantaloons, 
Statuary,  Jews        229 

XL  On  Whiskers,  Beards,  and  Mous- 
taches—Home-made Beards  and 
Whiskers— Materials  Required- 
Bending  the  Wire— Braiding  the 
Wire— Sewing  Hair  on  Wire — 
Crepe  in  Hair  and  its  Manipula- 
tion—The Proper  Application  of 
Whiskers  and  Moustaches  ...  32S 


INDEX   TO    VOLUME   III    {NEW  SERIES). 


XII.  Removing    the   Make-up  from   the 
Face— The   Right  Way  and   the 
Wrong — Lead   Poisoning    caused 
through  Impure  Grease  Paints — 
The  Best  Way  of  Removing  the 
Make-up  Effectually  and  Quickly 
—  Washing   in   Warm   and   Cold 
Water  —  Removing     Paint     and 
Powder    from    the     Hair — Open 
Wounds  on   the  Face   and   their 
Cure — Reliable  Theatrical  Toilet 
Preparations  for  the  Skin,  Teeth, 
Eyes,  and  Hair       ...         ...         ...  404 

Medical  Coil,  A  Pocket.— See  A  Pocket 
Medical  Coil. 

Medicine  Cupboard,  A 451 

Metal  Turning. 

I.  Choice  of  the  Lathe 254 

II.  Texture  of  Metals— Tools  ... 
III.  Turning    Small     Rods— Steadies — 

Light  Bent  Cranks 324 

W  .  Jaw     Chuck  —  Turning     Cylinder 
Cover — Turning  Piston  Rings — 

Dog-Chuck 374 

V.  Slotted  Face-Plate— Bolts  and  Dogs 
— Turning    Eccentric    Sheaves — 
Lining   Out— Chucking    Plates  — 
Double  Sheave        ...         ...         ...  424 

^  I.  Mandrel   Turning — Wooden    Man- 
drels —  Solid    Iron    Mandrels  — 
Conical    Centres — Conical    Man- 
drel  —  Mandrel      for      Turning 
Brasses  ...         ...         ...         ...  509 

VII.   Boring— Drills— Drill  Plate            ...  544 
VIII.  Conclusion 587 


Metals,  A  New  Method  of  Etching   ...     35 

Model  Cutter,  A     21S 

Model  Electric   Orane.—See  Electric 

Crane. 

Model  Electric  Fire  Engine      605 

Model  Force  Pump.  A     53 

Model  Locomotive,  How  to  Make  a  ...  522 
Model  Railway  Building:  Permanent 

Way. 

I.  Introduction  —  Making    Wheels  — 
Foundation  for  Permanent  Way 

— Plan  of  Station  Lines 1  ^7 

II.  Materials  for  Rails — How  to   Lay 
the    Rails    and   Sleepers — Points 
and  Shunts  ...         ...         ...         ...  j62 

III.  Signals — Accessories  —  Conclusion  226 
Monumental  Brasses,  Rubbings  of  ...  131 

Mountant,  A  Good 84 

Mounting   Equatorial    Telescopes. — 

See  Equatorial  Telescopes. 
Music  Holder  in  Bamboo  Work  ...  313 

Music  Stand  or  Book  Rest.  A  Pocket    202 

Music  Stand,  A  Folding !,, 

Negative,  To  Improve      oo 

Negative  Drying  Rack      I12 

Negatives,  Paper 43 

Negatives,  To  Remove  Varnish  from  424 
New  Method  of  Etching  Metals  ...  3- 
Notes  on  Novelties. 

Journal  of  Microscopy  and  Xatural 
Science— Fruit  Trade  Journal— The 
Amateur  Writer — The  Optical  Magic 
Lantern  and  Photographic  Enlarger 
—The  Amateur — The  Art  Workman  47 
Wood  Engraving — The  Pitkin  Pocket 
Lamp— Wilcox's  Paper  Letters — The 
Britannia  Company's  Buyers'   Guide 

— Brazz-o-line — The  Amateur 100 

Hasluck's  Cabinet  Worker's  Handbook 
—Photography  for  Architects— The 
Building  and  Machine  Draughtsman 
— The  John  Wilkinson  Company's 
Tool  Catalogue  —  Zilles'  Fretwork 
.s— The  Amateur — Electricity 
in  Everyday  Life — The  Watkins  Ex- 
posure Metre— Engineers' Tools  ...  150 
Engineers'  Tools— The  Photographic 
Art  J:urnal  205 


PAGE 

Seed     List — The    Amateur — Electric 

Catalogue 258 

The   Demon  Water   Motor — La  Bril- 

lantine       308 

The   Amateur— Lancaster  and    Sons' 

Photographic  Catalogue  360 

SylvastOF — Vevers'  Practical  Amateur 
Photography — Gent's  Electrical  Cata- 
logue— Screws  and  Screw  Making    ...  412 
The    Photography    Annual  —  Safety 

Rudder  Fittings 465 

The  Teacher's  Handbook  of  Slojd — 
Electrician      Primers — The     Mimeo- 
graph— The   Optical  Magic    Lantern 
and      Photographic      Enlarger— The 
Amateur    ...         ...         ...         ...         ...  51S 

The   Cantilever  Bowl  Castor — Zilles' 
Working      Drawings      for      Cabinet 
Makers— New  Series  of  Geographical 
Models — Tool  Merchant's  Catalogue  560 
The  Victor  Child's  Carriage    ...         ...  614 

Notes  on  Soldering  578 

Note  Rack,  A  Fretwork 253 

Nursery  Footstool,  A       129 

Old  English  Chair  in  Cut  Leather  ...  436 
Old-fashioned  Hall,  Treatment  of  ...  30 
Organ  Building,  Practical. 

I.  Simplicity  of  Construction — Advan- 
tages of  Organ  Building  as  a 
Hobby — The  Tools  Required — 
Specification  and  General  De- 
scription of  the  Instrument  ...  2 
II.  Woods  —  Kinds  and  Quantities — 
Ground  Frame — Building  Frame 
and  Key  Bench       63 

III.  The  Bellows  {continued)    ...     119 — 177 

IV.  Wood  Pipes  {continued)      ...     247 — 266 
V.   Metal  Pipes 316 

VI.  The  Soundboard         369 

VII.   Soundboard  (continued)      ...         ...  439 

VIII.  The  Keyboard  484 

Organ,    Tubular    Pneumatic    Action 

for  Small 561 

Ornamental  Clock  Case,  An     29 

Ornamental  Turning,  Some  Chapters 

on  Simple. 

I.  Simplicity  of  Ornamental  Turning 

—Cost  of  Outfit— General  Outline 

of  Method  in  Ornamental  Turning  245 

II.  Eccentric  Cutter — Shank — Body  of 

Cutter — Disc  ...         297 

III.  Forgings  for  Slide  Guides 334 

IV.  Fluting  Cutter—  Pulleys— Overhead 

— Division  Plate     ...         ...         ...  302 

V.  Cutting  Screws  in  the  Lathe — Index 
Pointer — Stops— Best  Slide    Rest 

for  Ornamental  Turning 444 

VI.  Turning   Shallow  Box — Process  of 
Ornamenting  —  Turning      Reel 

Stand 508 

VII.    Instructions    for     Turning      Orna- 
mental Patterns — Conclusion      ...   546 
Overmantel,  A  Simple  Bedroom        ...  193 
Overmantel   in  Carved  Wood,  Design 

for  an  483 

Overmantel,  A  Drawing-room 432 

Over  Piano,  An        354 

Paint  Brush,  How  to  Treat  a  New     ...   117 

Paint,  How  to  use  Enamel         21 

Paint  Spots  from  Wood,  To  Remove      14 
Paper   Negatives    and    other  Substi- 
tutes for  Glass     43 

Paper,  To  Make  Transparent 327 

Paper  or  Leather,  Waterproof  ...  274 

Papier  Mache,  To  Renovate     270 

Paste,  A  Good  

Patent,  How  to  Procure 

Photographer's  Sink,  A 

Photographic     Developing    Cabinet, 
A  Portable  223 


...  59° 
...  500 
7 


PAGS 

Photographic  Printing  Processes. 
IV.  Silver  Printing  Processes — N;:;i- 
tives :  Their  Good  and  Bad 
Qualities — Contact  Printing  on 
Albumenized  Silver  Paper — Use- 
ful Hints— Trimming  and  Wash- 
ing the  Prints — Toning  Solutions 
— Toning  with  the  Acetate  of 
Soda  Bath — Treatment  of  Prints 
with  Common  Washing  Soda — 
Toning  to  a  Purple  Tone — Treat- 
ment of  Prints  with  Salt — Toning 
to  a  warm  Brown — Washing  and 
Fixing— Final  Washing  and  Dry* 

ing      301 

Photographic  Still,  How  to  Make  a  ...  134 
Photographic  Studio,  An  Amateur's    289 

Photography,  Colour      457 

Photography,    Portrait    by   Artificial 

Light 17 

Photography,   House  Decoration  by. 
— See  House  Decoration. 

Photo  Frames,  Two  nS 

Photo   Lantern  Slides:  How  to  Make 

them  by  a  New  Method  396 

Photo  Prints,  Enamelling        100 

Photos,  Coloured 569 

Picture  Frame,  An  Artistic      209 

Picture  Framing 204 

Pipe  Cleaner,  An  Improved     476 

Plaster  Casts,  To  Bronze  197 

Plaster  Casts,  To  Mend 16 

Plaster,  Mixing      ...  256 

Plush  Bracket,  A 376 

Pneumatic  Action  for  Small  Organs    561 
Pocket  Medical  Coil,  A. 

I.  Case — Coil— Bobbins  407 

II.   Insulator — Arrangement  for   Make 

and  Break  Battery— Conclusion...  453 
Pocket  Music  Stand  and  Book  Rest...  202 

Polish  Deer  Horns,  To 546 

Polish  on  Brass,  A  Black  211 

Polish,  A  Quick  Drying 2S 

Polish  to  Stand  Hot  Dishes      507 

Polish,  Wax 97 

Poultry  Farm  :  How  an  Amateur  made 

one  Pay      3S 

Portable  Developing  Cabinet 223 

Portable  Whole-plate  Camera,  A      ...  547 
Portrait    Photography    by  Artificial 

Light 17 

Practical  Organ  Building.—  See  Organ 

Building. 
Printing  Press,  An  Easily  Made         ...  564 
Printing  Processes,  Photographic— 
See     Photographic    Printing     Pro- 
cesses. 
Prize  Scheme     17,  63,  149,  204,  258,  309, 

360. 413,  466, 517, 570, 614 

Pump,  A  Model  Force 53 

Putty,  To  Remove  Old 91 

Quaint  Corner  Cabinet,  A         28 

Quick  Drying  Polish,  A 28 

Rack,  A  Negative  Drying  112 

Railway  Building.—  See  Model  Railway 

Building. 
Racquet:  How  to  Re-string  a  Tennis   270 
Refrigerator    for    Domestic    Use,    A 

Simple  394 

Revolving  Book  Cabinets,   and   How 
to  Make  them. 
I,    Introduction  —  Material  —  Frame- 
work —  Shelves  —  Bars—  Feet — 

Plate 341 

II.   Skirting  —  Alternative     Revolving 

Apparatus     3%z 

III.  Adaptibility  of  Revolving  Cabinets 
— Substitute  for  Rails— Decora- 
tion —  Provision  for  Folios  and 
Large  Volumes        420 


INDEX   TO    VOLUME  III.    {NEW  SERIES). 


PAGE 

IV.  Step  Arrangement  of  Revolving 
Cabinet — Revolving  Cabinet  with 
Turned  Pillars  and  with  Desk  Top  512 


Roaster,  A  Chestnut        

Rosewood,  Staining  in  Imitation  of... 

Roundabout,  The  Electric        

Rubbings  of  Monumental  Brasses 

See-saw,  The  Electric      

Sett -Board  for   Entomologists,   How 

to  Make  and  Use 261 

Sharpening  Tools,  A  Stone  for  ...  332 

Slides,  To  Transfer   Engravings    for 

Magic  Lantern 222 

Sliding  Doors,  Bookcase  with 

Soap  Box,  A 

Soiled  Engravings,  To  Clean 

Soldering,  Notes  on         

Some     Hints     for     Amateur     Book- 

bi  nders       

Spectres,  Dissolving        

Sprinkler,  A  Clothes        

Stage,  How  to  "Make-up"  for.—  See 

How  to  "  Make-up  "  for  the  Stage. 

Stain  for  Floors,  A  Good  

Staining  in  Imitation  of  Rosewood  ... 

Stand  for  Vase,  A 

Stand,  How  to  Make  a  Hall        

Steam   Pipes,  Covering  for 

Step-ladder,  How  to  Make  a     

Still,  How  to  Make  a  Photographic  ... 
Stools,  How  to  Make  them 
Stone  for  Sharpening  Tools,  A 

Stove  Blacking,  A  Good 

Stove   Screen   and    Music   Holder   in 

Bamboo  Work      

Student  Decorators,  Hints  for 
Studio,  An  Amateur's  Photographic 
Sussex    Flower-pot    Cover,     How   to 
Make  a 

Swinging  Hammock  Chair,  A. 

I.   Introduction — The  Wood  Required 

— Details  of  Construction... 
II.  The  Swing,  and  its  Construction  ... 


331 


Table,  A  Chameleon         

Table,  A  Writing 

Tables,  Two  Fancy  

Telescopes,      Equatorial      Mounting 
for. 

I.  Motion  of  Stars  Parallel  with  the 
Equator — The  Polar  Axis  Co- 
ordinate to  the  Latitude  of  the 
Point  of  Observation — How  to 
find  the  Angle  of  Elevation — 
Finding  the  true  North — Con- 
erting    Longitudes    into    Time, 


PAGE 

..  386 

..  241 
34o 


East  or  West 


234 


II,  Gnomon  for  the  Polar  Axis— Mode 
of  Constructing  the  latter— Mark- 
ing the  Declination  Axis — Testing 
for  Accuracy — Fixing  in  Position 

— Clamping — Circles        275 

Tennis  Racquet,  How  to  Re-string  a     270 

Telescope,  Dialyte  ...         609 

Three  Small  Articles. 

Soap-box  or  Tray — Stand  for  Vase  or 
Water-jug — Small  Plush  Bracket      ...  376 

Tiles,  To  Remove  Cement  on 345 

Tin  Dishes,  To  Coat         54 

Tools,  A  Stone  for  Sharpening          ...  332 
Toning    and    Fixing    Bath,    A    Com- 
bined   42 

Towel-horse,  A  Useful     41 

Transfer  Engravings  on  Glass,  To  ...  222 

Transparent  Paper,  To  Make 327 

Tray  Shelf,  A  Folding      220 

Treatment  of  Old-fashioned  Halt  ...  30 
Turn  a  Cube  on  the  Lathe,  How  to  ...126 
Turned  Work,  A  Watchstand  in  ...  98 
Turners,  A  Watchstand  for      ..  ...     19 

Turning  Metal.     See  Metal  Turning. 

Varnish,  Chinese 500 

Varnish  from  Negatives,  To  Remove    424 

Violet  Colour  to  Brasswork      432 

Wash-hand  Stand,  A        262 

Watchstand  in  Turned  Work,  A  ...  98 
Watchstand  for  Turners  19 


PAGE 

•     54 
274 


35 

97 
32 


Waterproof  Writing  Ink,  To  Make 

Waterproof  Paper  or  Leather 

Water-tight  Joint  between  Glass  and 

Zinc,  A        

Wax  Flowers,  To  Make 

Wax  Polish 

Where  Did  I  Put  It?  

Wheels  for  Hand-cart. 

I.  Tools  —  Nave  —  Frame  — Spokes — 

Spokeboy — Shoulder  Gauge        ...  427 
II.   Tenoning   Spokes — Mortising   Fel- 
loes— Templet    for    Felloes — Fit- 
ting   up   Wheel — Fixing    Tyre — 
Boxing  Wheels — Painting  ...  502 

Whitewash  that  will  Not  Rub  Off      ...     66 
Whole-plate  Camera  :  How  to  Make  a 

Portable     547 

Wind-power  :  How  to  Drive  a  Lathe 
and    Circular  Saw  by.— See    Lathe, 
How  to  Drive. 
Wood  Engraving  for  Amateurs. 

I.  What    Wood    Engraving    is — The 

Wood  used — The  Tools    ...         ...       5 

Preparing  the  Tools — Pad  or  Sand 

Bag — Eye — Glass  and  Stand — Ink 

Dabber — Drawing  on  Wood 

Transferring  Designs  to  the  Wood 

— Photographing  on  Wood 

How  to  Engrave        188 

How  to  Remedy  Mistakes — Taking 
Proofs — Ruling  — Cross-hatching 
— White  Cross-lining— Conclusion  216 

Wood  Working        116 

Woodwork,  A  Few  Ideas  in        157 

Woodworkers,  Wrinkles  for)     463 

Wrinkle  for  Banjo  Makers,  A 358 

Wrinkle  for  Cyclists,  A    ...  237 

Wrinkles     for     Amateur    Wood    En- 


II. 


III. 


IV. 
V. 


91 


125 


gravers        

Wrinkles  for  Bookbinders        

Wrinkles  for  Woodworkers       

Writing  Desk,  A  Davenport       

Writing  Ink,  To  Make  a  Waterproof... 
Writing  Table,  A 


491 
306 

463 
199 

54 
241 


INDEX  TO  SUPPLEMENTS  OR  FOLDING  SHEETS. 


Practical  Organ  Building — The  Case         

A  Fancy  Coal-box  

Two  Folding  Photo  Frames 

Hints  on  Decorating  the  House  by  Photography 

A  Model  Cutter 

Finger-Plates  or  Panels  in   Fretwork  or  Inlay 

Two  Fancy  Tables         

Practical  Organ  Building — The  Soundboard      

An  Old  English  Chair  Upholstered  in  Cut  Leather    ... 

Design  for  Overmantel  in  Carved  Wood 

A  Portable  Whole-Plate  Camera  with  Bellows  Body... 
Three  Designs  for  Fretworkers        


Facing  Page 

I 

;> 

49 

>j 

105 

ij 

157 

• 

209 
261 

a 

313 

)> 

365 

;  > 

417 

tt 

469 

j  > 

521 

5) 

573 

INDEX   TO   "AMATEURS    IN  COUNCIL' 


Accumulators,    Dynamo    for    Charging, 

520 
Acme  Drill  Chuck,  571 
AdaptiDg  Parts  .  of  Lathe  for   Overhead 

Motion,  572 
Altering  Clocks,  208 
American  Clock,  Re  Query,  259 
Amateur  Appliances,  312 
Amateur  Dramatic  Authorship,  363 
"Amateur     Work,      Illustrated,"     Old 

Series,  363,  415,  467 
"  Amateur  Work."  Binding,  50 
"Amateur  Work,"  Index  to,  104 
Amateur  Work  in  the  Colonies,  615 
Amateur  Work,  Suggestions  for,  206 
"Amateur  Work,"  Vol.  II.,  New  Series, 

363 

Amateurs'  Testimony,  154 
Amateurs'  Work,  519,  571 
Amateurs'  Work  and  Iron  Planes,  571 
American  Clock,  208,  259 
American  White  Wood,  416,  519 
Aphengescope,  520 
Appliances,  Amateur,  312 
Article  on  Soldering,  416 
Authorship,  Amateur  Dramatic,  363 

Battery  Coil,  Defective,  208 

Battery,  Secondary,  361 

Battery  Wanted,  155,  206 

Bellows,  Camera,  52 

Best  and  Fastest  Shutter  for  both  Time 

%  and  Instantaneous  Work,  49 
Bichromate  v.  Bunsen  Cell,  roi 
Bicycle,  £20 
Bicycle  Cement,  156 
Bicycle,  Safety,  415 
Binding*"  Amateur  Work,"  50 
Blackboard,  310 
Blue  Printing  Process,  103 
Boat-building  with  Planking,  Model,  153 
Boat,  Brass  Fittings  for,  364 
Bookbinding,  52,  616 
Bookbinders,  Club  for,  415 
Bookcase  and  Screen,  363 
Bookcases,  Reviving,  519 
Books  on  Electricity,  154 
Box  Corner  Fittings,  519 
Brass  Fittings  for  Boat.  364,  415 
Brass  Angle    Fittings   for  Box   Corners, 
D      519 

Brass  Instruments,  Repairing,  207 
Brass  Rods,  312 
Brown  Paper,  Hand-made,  468 
Brief  Replies,  52 
Building  a  Greenhouse,  104 
Bursoolah,  416 

Calico  Diagrams,  52,  154 
Camera,  An  Easily  Made,  364 
Camera  Bellows,  52 
Camera,  etc.,  312 


Camera,  Photographic,  206,  519 

Cameras,  Demon,  207 

Canoe,  Light,  104 

Castings,  362 

Castings  for  Hand  Planing  Machine,  104 

Castings  for  Microscope,  51,  155 

Castings  for  Simple  Milling  Attachment 

for  Lathe,  153 
Cell,  Bichromate  v.  Bunsen,  101 
Celluloid,  Composition  of,  T04,  208 
Cement,  Bicycle,  156 
Chemical,  Hygroscopic,  260 
Chuck    for    Circular    Saw    and    Milling 

Cutter,  t53 
Circular  Saw  and  Milling  Cutter,  Chuck 

for,  rS3 
Clay  Modelling,  468 
Clock,  American,  208 
Clock  for  Reflecting  Telescope,  616 
!  Clocks,  Altering,  208 
Cloth,  Spots  on,  520 
Club  for  Bookbinders,  415 
t  Coil,  310 

Coil,  Defective  Battery,  208 
Coil,  Wire  for,  ior 
Colonists  and  "  Amateur  Work,"  259 
Colouring  Walls  of  Dining  Rooms,  r56 
Compact  Folding  Chair,  5r 
Composition  of  Celluloid,  ro4,  208 
Contributors,  A  Hint  to,  154 
Coop,  Hen,  416 
Copper,  Etching  on,  259 
Copper  Facing  Carbon,  571 
Copying  Fretwork  Designs,  207 
Costume  Making,  Theatrical,  363 
Crack  in  Flageolet,  52 
Cricket  Materials,  Alending,  52 
Criticism— An   Offer  to    the   Readers   of 

"Amateur  Work,"  roi 
Criticism,  155 
Crutch,  Safety,  r54 
Cutter,  A  Model,  r52,  468 
Cutting  and  Polishing  Pebbles,  572 
Cyclostyle  Ink,  50,  153 

Defective  Battery  Coil,  208 
Demon  Cameras,  207 
Designs,  Fretwork,  416 
Diagrams,  Calico,  '52,  rs4 
Difficulties,  Photographic,  T51 
Dining  Table.  Telescopic,  206 
Distributor,  A  Resin,  3ri 
Division  Plate,  615 
Dramatic  Authorship,  Amateur,  363 
Dressing  Table  and  Washstand,  102 
Dulcimer  Fittings,  104 
Dynamo    for    Charging    Accumulators, 
520 

Ebony  Walking  Sticks,  51 
Electrical  Matters,  414,  416,  468 
Electric  Bell,  616 


Electric  Bell  Indicators,  208 
Electric  Bell,  Switch  for,  104 
Electricity,  Books  on,  154 
Emery  Wheel,  468 
Employment,  Finding,  154 
Enamel  Paint,  52,  467 
Errata,  364,  416 
Etching  in  Copper,  259 
Exercises  in  Woodworking,  571 

Fastest  Shutter  for  Instantaneous  Work, 

49 
Few  Ideas  in  Woodwork,  259 
Files,  Tempering,  311 
Finding  Employment,  154 
Fire  Hand  Grenades,  312,468 
Fitting  Hatch  to  Model  Yacht,  103 
Flageolet,  Crack  in,  52 
Flatting  for  Glass  Jars,  616 
Fluor-Spar,  312,  364 
Folding-Chair,  Compact,  51 
Fountain,  520 
Fountain,  Self-acting,  364 
French  Polishing,  51 
Fretwork  Designs,  Copying,  207,  416 

Galvanised  Work,  Soldering,  260 

Gear,  Reversing,  414 

Gilding,  50 

Gilding  Ivory,  4r6 

Granite,  Marble,  etc.,  Imitations  of,  468 

Greenhouse,  416 

Greenhouse,  Building  a,  104 

Gauge,  A  Tinsmith's,  361 

Hammers,  364 

Hammer,  Tinsmith's  Blocking,  468 

Hand   and   Foot   Threshing    Machines, 

572 
Hand-books,  Technical  Series  of,  415 
Hand  Grenades,  Fire,  3t2,  468 
Hand-made  Brown  Paper,  468 
Hand-planing    Machines,   Castings    for, 

104 
Handy  Substitute  for  Lathe  Planer,  52 
■Harmonium,  Adding  Pedals  to,  52 
Hat  and  Umbrella  Stand,  468 
Hatch  to  Model  Yacht,  103 
Hen  Coop,  416 
Hint  to  Contributors,  t54 
How  to  make  a  Music  Stool,  151 
How  to  make  a  Phonograph,  208 
Horns,  Preparation  of,  467 
Hydraulic  Motor,  207 
Hygroscopic  Chemical,  260 

Ice  Machines,  r55 

Imitations  of  Granite,  Marble,  etc.,  468 

Incubator,  416 

Index  to  "Amateur  Work,"  104,  572 

Indian  Tools,  Some,  48 

India-rubber  Stoppers,  154 


INDEX   TO   " AMATEURS  IN  COUNCIL:' 


Indicators,  Electric  Bell,  208 

Inductorium,  151 

Information  Sought,  364 

Ink,  Cyclostyle,  50,  153 

Instantaneous  Work,   Best  Shutter  for, 

49 
Iron,  Soldering,  104 
Ivory,  Gilding,  416 

Lads,  Technical  Instruction  for,  414 
Lantern,  Magic,  520 
Lathe,  Slow  Speed  for,  362 
Leads,  Machine  for  Shaping,  208 
Leaded   Glass   Windows    and    Aviaries, 

260 
Leaded  Letters  in  Stone,  153 
Lightning  Paper,  156 
Light  Canoe  to  Carry  One  Person,  104 
Lithographic  Press,  154 

Machine  for  Shaping  and  Guttering  Leads 
for  Stained-glass  Windows,  208 

Magic  Lantern,  152,  520 

Magic  Lantern,  Projecting  Microscopic 
Slides  with,  152 

Magic  Pocket  Lamp,  310 

Magnet  torhold  up  100  lbs.,  519 

Make  your  own  Magic  Lantern,  154 

Marble,  Imitations  of,  468 

Marble  Top  and  Tiles  for  Washstand, 

Medical  Coil,  Small,  519 
Mending  Cricket  Materials,  52 
Microscope,  Castings  for,  51,  155 
Milling  Attachment  for  Lathe,  Castings 

for,  153 
Mirrors,  Silvering,  416 
Mitre  Cutter,  152 

Model   Boat  Building  with  Planking,  153 
Model  Cutter,  468 
Motor,  Hydraulic,  207 
Model  Locomotive  Building,  571 
Model  Stationary  Engine,  572 
Model  Steam  Yacht,  207,  260 
Model  Yacht,  Fitting  Hatch  to,  103 
Modelling  in  Clay,  46S 
Music  Stool,  How  to  Make,  151 

Negative,  Removing  Varnish  from.  520 
Netting,  Oblong,  50 
Nom  de  Plume,  616 

Oblong  Netting,  50 

Odour  of  Paint,  520 

Optical  Illusion,  572 

Organ  Building,  153,  310,  361,  414 

Organs,  Scudamore,  311 

Paint,  Enamel,  52 

Paint,  Odour  of,  520 

Paper,  Lightning,  156 

Painting  Shop  Front,  414 

Paper  Screens,  616 

Paper  Pulp,  520 

Parian  Statuette  Making,  520 


Pedals  to  Harmonium,  52 

Pentagraph,  363 

Photographic  Camera,  206,  519 

Photographic  Difficulties,  151,  208 

Photographic  Matters,  468 

Photographic  Papers,  Sensitizing,  468 

Phonograph,  208 

Piano,  Rehabilitation  of,  362    . 

Pictures,  Varnish  for,  153 

Pictures,  Zoetrope,  363 

Pin  Puzzle  Box,  50,  155,  361 

Plested's  Patent    Plane  Iron,  Chisel,  and 

Tool  Sharpening  Machine,  51 
Pocket  Lamp,  a  Magic,  310 
Polishing,  French,  51 
Polish,  Wax,  363 
Portmanteau  Stand,  311 
Preparation  of  Horns,  etc.,  467 
Preserving  Snakes  in  Spirit,  520 
Press,  Lithographic,  154 
Preventing  Rust  on  Tools,  153 
Printing  and  Rubber  Stamp  Making,  206 
Printing  Process,  Blue,  103 
Promised  Subjects,  571 
Prize  Competition,  312 
Pulp,  Paper,  520 
Puzzle  Box,  Pin,  30,  155,  361 

Razor,  Safety,  520 
Razor  Stone,  468 
Reflecting  Telescope,  468 
Rehabilitation  of  Piano,  362 
Removing  Varnish  from  Negatives,  520 
Repairing  Brass  Instruments,  207 
Replies  devoid  of  General  Interest,  156, 

208,  260,  3t2,  468 
Reply  Bookcase  and  Screen,  363 
Resin  Distributor,  3ti 
Reversing  Gear,  414 
Revolving  Bookcases,  519 
Rhomkorff  Coil,  156 
Rivetting,  155 
Rods,  Brass,  3r2 
Rubber  Stamp  Making,  206 
Rubber  Stamps,  Type  for,  416 
Rubber  Stamps,  311 
Rust  on  Tools,  Preventing,  153 

Safety  Bicycle,  415 

Safety  Bicycle  Fittings,  616 

Safety  Crutch,  154 

Safety  Razor,  520 

Scrap  Screen,  4T4 

Screen,  Threefold,  259 

Screw  Hammer,  616 

Scudamore  Organs,  311 

Secondary  Battery,  361 

Self-acting  Fountain,  364,  615 

Sensitizing  Photographic  Papers,  468 

Sewing   Machine  Stand,    Utilizing,    155, 

2°7.  4iS 
Shocking  Coil,  616 
Shop  Front,  Painting,  414 
Shutter,  Fastest  for  Instantaneous  Work, 

49 


Silvering  Mirrors,  467 

Simple  Ornamental  Turning,  571,  6r5 

Simplex  Glazing,  4t6 

Single  Needle  Telegraph,  260 

Slide  Rest,  572 

Sliding  Door  for  Bookcase,  616 

Slow  Speed  for  Lathe,  362 

Small  Medical  Coil,  519 

Snakes  in  Spirit,  Preserving,  520 

Soldering,  Article  on,  416  , 

Soldering  Galvanized  Work,  260 

Soldering  Iron,  ro4 

Some  Indian  Tools,  48 

Specula  Grinding,  312 

Spots  on  Cloth,  520.  616 

Staining  Wood  to  Match  a  Pattern,  136 

Stained    Glass   Windows,    Machine    for 

Shaping  Leads  for,  208 
Stand,  A  Portmanteau,  3d 
Statuette,  Making  Parian,  520 
Steam  Yacht,  Model,  207    - 
Subjects  for  Amateur  Work,  520 
Suggestions  for  Amateur  Work,  2o5 
Switch  for  Electric  Bell,  104 

Table,  Telescopic,  206 

Technical  Instruction  for  Lads,  414 

Technical  Series  of  Handbooks,  416 

Telegraph,  Single  Needle,  260 

Telephones,  616 

Telescopic  Dining  Table,  206 

Tempering  Files,  311 

Theatrical  Costume  Making,  363 

Three-fold  Screen,  259 

Tinsmith's  Blocking  Hammers,  364,  468 

Tinsmith's  Gauge,  361 

Tool  Sharpening  Machine,  Plested's,  51 

Tools,  Some  Indian,  48 

Transparent       Squares       for      Drawing 

Purposes,  572 
Type  for  Rubber  Stamps,  416   ' 

Upholstering,  364 

Utilizing    Sewing    Machine   Stand,    t55, 
207,  415,  616 

Vacuum  in  Vessel,  519 
Varnish  for  Pictures,  153 
Varnish  for  Violoncello,  6t6 
Violin  Making,  208,  4r5 
Vulcanite,  416,  5tg 

Walking  Sticks,  Ebony,  51 

Walls  of  Dining  Room,  Colouriirg,  156 

Wax  Polish,  363  ^^ 

White  Wood,  American,  416 

Wind  Power  to  Workshop,  312 

Wire  for  Coil,  rot 

Wood  Engraving,  156 

Washstand,  Marble  Top  and  Tiles,  153. 

Yacht,  Model  Steam,  20j 

Zoetrope  Pictures,  363 


PRINTED  AT   THE  BOTOLPH   WORKS,   CROSSKEV  SQUARE,    LITTLE  BRITAIN,   E.C 


rtt*ftD.LOCfiSC°1.0HOi 


n 


AN  ELECTRICAL  BALANCE. 


2 


AN  ELECTRICAL  BALANCE. 

By  ELECTRON. 


balance  is  used  to  detect 


sK  ;=|N    electrical 

J  s£k  [gj     the  presence  of  very  small  charges  of 


(3V 

electricity,  in  any  body ;    and  many 

interesting    experiments    may    be    made 

It  consists  of  a  straw,  with  a  suitable 


very 

with  it 

centre,  balanced  on  the  point  of  a  needle  on  an 

insulated   stajid  ;    when   an   electrified  body  is 


wire,  and  turning  or  filing  the  outside  to  a 
conical  shape  (as  shown  in  Fig.  2),  or  it  may  be 
made  from  a  piece  of  glass  tube  1  inch  diameter. 
Heat  the  tube  in  the  flame  of  a  spirit-lamp,  and 
keep  turning  it  round  ;  when  hot,  pull  asunder 
the  ends  of  the  tube,  and  it  will  draw  apart  in  a 
conical  shape  ;  heat  the  thin  end  till  the  hole  is. 
closed,  and,  with  a  triangular  file,  nick  the 
tube  round  at  the  proper  length,  and  cut  it  off. 
The  centres  can  be  fixed  in  the  straw  by  a  drop 
of  sealing-wax.     Then  balance  the  straw  in  the 


FIG. I. 

Electrical  Balance. 


presented  to  one  end,  it  is  attracted,  and  to  the 
opposite  end,  it  is  repelled.  Make  a  circular 
stand  of  wood,  about  2\  inches  diameter,  and 
\  inch  thick ;  this  may  be  cut  by  a  chisel,  and 
the  edges  filed  smooth,  or  it  may  be  turned, 
and  a  small  moulding  formed  on  the  upper  edge  ; 
in  the  centre  of  this,  fix  a  piece  of  sealing-wax 
\  inch  diameter,  and  \\  inches  long;  melt  the 
end  of  the  wax,  and  fix  it  perfectly  upright; 
then  take  a  needle  in  a  pair  of  pincers,  and  heat 
the  eye  end  red  hot,  and  stick  it  in  the  top  end 
of  the  wax,  being  careful  to  have  it  vertical. 
Then  get  a  piece  of  dry  wheat  straw,  about 
10  inches  long,  and  make  a  notch  in  the  centre, 
and  fix  in  it  a  brass  or  glass  centre  or  pivot.  A 
brass  pivot  may  be  made  by  drilling  a  conical 
hole  in  the  end  of  a  piece  of  3-1 6th  inch  brass 
Vol.  in.  (New  Beries).— Par*  25. 


F  l  0.3.  Wood  ball  on  stand. 

needle  point,  when  it  ought  to  swing  round  at 
the  slightest  touch.  Fig.  1  shows  balance- 
complete.  Rub  a  dry  glass  tube  with  silk,  and 
present  it  to  one  end,  which  will  be  attracted, 
and  the  opposite  end  will  be  repelled.  A  stick 
of  sealing-wax  rubbed  with  flannel  will  show 
the  same  phenomenon. 

Make  a  ball  1  \  inches  diameter,  of  dry  wood, 
and  cover  it  with  tinfoil,  bore  a  hole  in  it,  and 
fix  it  on  an  insulated  stand  (as  shown  in  Fig.  3), 
and  make  in  a  similar  manner  to  the  one  de- 
scribed. When  the  ball  is  perfectly  dry,  strike  it 
with  a  piece  of  flannel ;  and  on  presenting  it  to 

B 


PRACTICAL    ORGAN  BUILDING. 


the  balance,  one  end  is  attracted,  and  the  other 
repelled;  showing  that  merely  striking  the  ball 
has  slightly  charged  it  with  electricity,  which  is 
indicated  by  the  balance. 

The  whole  of  the  apparatus  must  be  perfectly 
dry,  and  free  from  dust,  to  make  the  experiments 
successfully. 


PRACTICAL  ORGAN  BUILDING. 

By  AN  ORGAN  BUILDER. 


(For  Illustrations  see  Folding  Sheet  presented  with  this  part.) 
1. — Simplicity    of    Construction  —  Advantages     of 
Organ    Building   as    a   hobby— The   Tools'  .  Re- 
quired—Specification and  General  Description 
of  the  Instrument. 

sjROM  the  appearance  of  an  organ,  an 
amateur  might  feel  disposed  to  con- 
sider that  to  undertake  the  construc- 
tion of  such  an  elaborate  and  apparently 
complex  work  would  be  a  matter  far  beyond 
his  power.  However  attractive  might  be  the 
idea  of  building  so  noble  and  delightful  an 
instrument,  the  prospect  of  mastering  details, 
and  ultimately  obtaining  any  result  commen- 
surate with  the  care  involved,  would  appear  so 
small  that  very  few  indeed,  I  think,  would  be 
disposed,  on  their  own  initiative,  to  entertain  the 
idea  of  taking  such  a  thing  in  hand. 

Taking  an  organ  piece  by  piece,  however, 
every  detail  is  perfectly  simple  in  its  construc- 
tion ;  and  in  making  and  applying  the  different 
portions  of  the  mechanism,  and  so  building  up 
an  instrument,  there  is  no  insuperable,  or  even 
serious  difficulty  to  anyone  fairly  acquainted 
with  the  use  of  tools,  and  endowed  with  the 
gift  of  patience  and  the  power  of  taking  pains. 
ThTe  is  no  special  trade  to  learn,  and  no  special 
outiit  of  tools  required,  beyond  what  would 
ordinarily  be  included  in  the  assortment  of  any- 
one who  undertakes  what  might  be  designated 
the  higher  branches  of  amateur  joinery  or 
carpentry.  The  main  skill  required  is  to  be 
able  to  plane  a  board  true,  and  to  make  a  good 
joint,  and  to  be  able  to  carry  out  all  details 
of  working  and  measurements  with  extreme 
accuracy. 

Of  course  it  must  be  recognised  that  the 
building  of  an  organ,  however  small  it  may  be, 


demands  a  very  considerable  amount  of  time 
and  work ;  but  not  more  so  than  hundreds  of 
articles  that  amateurs  undertake  to  construct  in 
their  leisure  hours.  But  the  pride  and  beauty 
of  a  well-finished  organ,  properly  designed  and 
carried  out,  with  its  exceptional  delights,  to  say 
nothing  of  its  intrinsic  value,  is  well  worth  the 
devotion  of  far  more  time  than  many  of  the 
productions  to  which  the  class  for  whom  I  am 
writing  have  devoted  their  skill  and  patience. 
Indeed,  I  cannot  imagine  any  item  of  work 
which  will  ultimately  yield  so  much  profitable 
enjoyment  on  its  completion. 

Before  attempting  to  describe  the  organ,  or 
considering  the  practical  details  of  its  construc- 
tion, we  must  first  look  to  the  tools  necessary 
for  the  work.  At  the  outset,  the  too^  like  the 
work,  must  be  of  the  best  possible  quality. 
Good  work  cannot  be  done  without  good  tools  ; 
the  best  are  cheapest  in  the  end.  Common  tools 
rarely  keep  good  edges,  and  will  dishearten  the 
best  workman.  Cheap  and  nasty  are  twin 
brothers  ;  despair  and  failure,  their  nearest 
relations. 

First,  we  require  a  good  joiner's  bench,  sub- 
stantially made,  planed  quite  true  on  the  top, 
and  with  the  necessary  appurtenances  of  screw, 
stop,  etc.  The  bench  should  not  be  less  than  6 
or  7  feet  long  ;  indeed,  if  it  could  be  8,  or  even 
9,  feet  in  length,  it  would  be  better. 

The  following  saws  will  be  most  wanted  : — A 
rip  saw,  a  panel  saw,  tenon,  dovetail,  and  key- 
hole saws.  The  first  is  for  ripping  down  boards, 
the  second  for  fine-sawing  and  cross-cutting  wide 
boards,  and  the  three  last  are  used  in  hosts  of 
different  details.  For  planes — a  jack  plane,  for 
taking  off  the  first  shavings  from  the  rough 
boards ;  a  trying  plane,  for  making  joints  and 
finishing  off  the  wood ;  a  smoothing  plane,  to 
take  off  the  last  clean  shavings  ;  a  1£  inch  rebate 
plane,  for  planing  across  the  wood ;  a  toothing 
plane,  to  make  the  parts  rough  that  are  required 
to  be  more  firmly  held  together  with  glue  only, 
so  that  the  glue  may  have  more  hold  to  the 
disturbed  surface  than  the  smooth  places ;  and 
a  pair  of  No.  6  and  14,  hollow  and  round.  The 
hammer,  mallet,  and  pincers,  used  in  almost  every 
trade,  cannot  be  dispensed  with.  A  good  brace, 
and  half-a-dozen  pin  bits,  a  rose  countersink  bit, 


PRACTICAL    ORGAN  BUILDING. 


and  as  many  different  sizes  of  centre-bits  (not 
less  than  ten  or  twelve  in  all,  but  as  many  more 
as  tbe  amateur  can  afford),  to  range  from  \  inch 
to  1A-  inches,  and  upwards.  An  expansion  bit 
would  be  found  fairly  useful,  but  if  a  good  set 
of  centre-bits  are  obtained,  they  are  more  satis- 
factory than  the  shifting-bit.  These  bits  would 
be  required  mainly  in  fitting  in  the  pipes. 

Xext,  some  chisels.  These  should  vary  from 
-J  inch  to  \\  inches.  The  handiest  will  be  found 
to  be  the  \,  \,  f ,  \,  f ,  1  inch,  and  a  \\  inch  thin 
paring  chisel.  We  shall  also  want  two  mortise 
chisels.  The  sizes  for  these  should  be  T5B  and 
\  inch. 

A  \,  \,  and  f  inch  gouge  will  be  very  useful. 
A  marking,  cutting,  and  mortise  gauge  will  be 
required,  also  two  joiner's  iron  squares,  with  4| 
•or  6-inch  blade,  and  one  with  a  12-inch  blade. 
We  shall  also  want  a  large  wood  square,  with  a 
blade  not  less  than  2  feet  or  2  feet  6  inches  long. 
(This,  I  should  think,  any  amateur  could  make 
fur  himself  ;  or  if  not,  any  joiner  would  make  it 
at  a  very  little  cost.)  A  pair  of  cutting  pliers, 
and  a  pair  of  round-nosed  pliers,  for  the  wire 
work.  Three  or  four  different  sizes  of  bradawls 
and  gimlets,  a  couple  of  screwdrivers,  and  a 
bevel,  a  10-inch  wood  file,  and  an  iron  file  of 
similar  length  ;  also  a  small  flat  file,  and  a  three- 
cornered  file  will  be  required. 

Of  course,  we  shall  want  a  glue-pot— the 
larger  the  better — and  two  or  three  brushes  are 
indispensable.  Half-a-dozen  hand-screws  will 
be  very  useful,  and  a  joiner's  cramp,  about  6 
feet  long,  would  be  an  acquisition,  but  is  not 
absolutely  necessary.  An  oilstone  and  one  or 
two  sharpening  slips,  and  a  soldering-iron  will 
be  required. 

This  completes  the  list  of  tools  which  may  be 
considered  practically  indispensable.  We  may 
refer  later  to  other  tools ;  but  any  not  already 
enumerated,  though  useful  in  some  special  way, 
with  a  little  pains  may  be  dispensed  with. 

Thus  equipped,  we  are  in  a  position  to  think 
of  the  commencement  of  our  work,  and  have  to 
consider  the  type  of  organ  most  suitable  for  the 
capacity  of  an  ordinary  worker,  and.  at  the  same 
time,  how  we  can  lay  down  a  design  which  will 
yield  a  maximum  return  for  the  labour  bestowed 
on  it.     The  specification  which  is  best  suited  to 


these  considerations  is  probably  as  follows : — 
The  organ  is  to  contain  one  manual  (compass 
C  C  to  A,  in  altissimo  58  notes),  four  stops,  and 
pedals.  The  stops  will  be :  Open  diapason, 
salcional,  stopped  diapason,  and  gemshorn.  The 
three  last  stops  will  be  enclosed  in  a  swell  box. 

In  this  instrument  we  shall  have  a  good 
selection  of  stops,  and  when  finished  it  will  be 
very  suitable  for  hall  or  drawing-room  ;  while 
in  a  small  church  it  would  be  very  effective. 
An  organist  would  be  charmed  with  it  as  a 
practising  organ ;  an  amateur  player  would  find 
in  it  endless  solace  and  enjoyment ;  while  for 
leading  the  music  in  public  worship,  it  would  be 
found  a  hundred  times  preferable  to  the  mono- 
tonous harmonium. 

Looking  at  the  stops  in  detail,  we  have,  in  the 
first  place,  the  dignified  round  lone  of  the  open 
diapason,  specially  characteristic  of  the  organ, 
and  obtainable  from  no  other  instrument.  The 
salcional  produces  a  fine,  soft,  reedy  quality  for 
soft  accompaniments.  The  stopped  diapason, 
with  its  mellow  tone,  may  be  freely  used  by 
itself,  and  makes  a  pleasing  combination  with 
any  of  the  other  stops  ;  and  the  gemshorn,  with 
its  clear  bright  quality,  adds  a  colour  to  the 
whole,  without  being  in  any  way  harsh  or  noisy. 
Enclosing  the  last  three  stops  in  a  swell  box 
does  not  in  any  appreciable  degree  detract  from 
the  quality  of  the  pipes,  or  reduce  the  distinctive 
quality  of  each  stop,  as  when  the  box  is  opened 
in  the  front  (which  can  be  done  at  the 
pleasure  of  the  player  in  a  way  that  will  be 
afterwards  described) ;  it  amounts  almost  to  the 
same  thing  as  the  pipes  being  unenclosed. 
When  the  box  is  shut,  however,  the  most 
pleasing  distant  effect  can  be  produced,  and  still 
more  effective  crescendos  and  diminuendos 
obtained  by  the  gradual  opening  and  closing  of 
the  box. 

The  open  diapason  may  be  made  either  of 
wood  or  metal,  whichever  the  amateur  may 
prefer,  and  will  extend  from  gamut  G  (lowest  Qt 
on  the  keyboard)  to  A  ;  51  notes  in  open  pipes; 
and  for  the  0  C  to  F  F  sharp  we  shall  have  seven 
stopped  pipes  of  large  scale.  These  lowest  notes 
may  have  the  wind  conveyed  to  the  pipes  form- 
ing the  bass  of  the  stopped  diapason,  thus 
making  the  two  stops  to  answer  from  one  set  of 


PRACTICAL    ORGAN  BUILDING. 


pipes.  The  former,  however,  is  by  far  the  more 
satisfactory  way,  as  the  latter  gives  rise  to  wind- 
robbing  and  other  evils.  The  stopped  diapason 
will  be  carried  right  through  from  C  C  to  A,  in 
stopped  wood  pipes. 

The  salcional  will  be  of  metal  from  tenor  C 
(lowest  C  but  one),  and  the  lowest  octave  grooved 
into  the  lowest  octave  of  the  stopped  diapason. 
This  grooving  is  the  same  as  the  conveying  of 
the  wind  in  the  seven  lowest  open  diapason  notes 
just  mentioned. 

The  gemshorn  should  be  made  of  metal  from 
tenor  C  to  the  top  note.  From  C  C  to  B  we 
shall  use  open  wood  pipes. 

The  open  diapason,  if  made  of  metal,  will 
look  very  well  as  a  front  to  the  organ,  though 
this  would  entail  a  rather  considerable  expense, 
the  metal  pipes  being  the  most  costly  items  in 
an  organ  ;  and  I  should  not  advise  any  amateur 
to  try  and  make  his  own  metal  pipes.  This  stop 
might  be  made  of  wood  pipes.  I  leave  it  with 
the  builder  as  to  the  choice  of  material  for  this 
all  important  stop,  though,  if  circumstances  will 
allow  of  the  use  of  metal  pipes,  I  would  strongly 
urge  the  insertion  of  the  same,  for  although  the 
wood  pipes,  as  an  open  diapason,  give  a  full, 
round  tone,  there  is  not  that  clear,  bright  quality 
which  a  metal  pipe  alone  can  produce.  Figs.  1 
and  2  represent  the  organ  front  as  it  will  appear 
when  completed.  Fig.  1  shows  the  front  with 
the  open  diapason  made  of  metal,  and  Fig.  2 
is  the  front  with  wood  pipes.  The  latter  will 
look  very  well  if  it  can  be  arranged  for  the 
pipe  fronts  to  be  made  of  oak  or  mahogany, 
and  varnished  or  polished.  The  bright  metal 
pipes,  however,  would  be  by  far  the  more  attrac- 
tive and  imposing  in  appearance,  as  well  as 
in  tone. 

The  two  sketches  just  referred  to  show  two 
very  economical  and  simple  methods  of  forming 
a  case,  but  they  are,  at  the  same  time,  none  the 
less  pleasing.  Using  the  pipes  in  this  way  as 
a  front  dispenses  with  the  necessity  of  orna- 
mental pipes.  The  ends  of  the  case,  if  they  are 
to  show,  will  simply  consist  of  two  panels,  one 
above  the  other,  with  a  small  moulding  between 
them,  to  break  the  straight  line. 

A  fair  general  idea  will  have  been  formed  as 
to  what  would  be  the  most  suitable  lines  for  our 


instrument,  and  we  conclude  that  it  shall  contain 
one  manual,  compass  C  C  to  A,  in  alt.  58  notes. 
This  is  the  full  compass  of  modern  organs. 
Pedals,  compass  C  C  C  to  F,  coupled  to  the  lowest 
30  notes  of  the  manual. 

Four  stops,  viz.  :  Open  diapason,  metal  from 
gamut  Gr  to  A  in  alt.  with  the  lowest  notes  in 
stopped  wood  pipes  ;  salcional,  tenor  C  to  A  in 
alt.  in  metal,  and  the  lowest  notes  to  be  used 
from  the  stopped  diapason  ;  stopped  diapason, 
from  0  C  to  A  in  alt.  throughout  in  stopped 
wood  pipes  ;  gemshorn,  C  C  to  B  in  open  wood 
pipes,  and  from  tenor  C  to  A  in  alt.  in  metal  pipes. 
The  case  front  to  be  as  shown  in  Figs.  1  or  2, 
Fig.  3  represents  a  front  of  a  more  ornamental, 
type;  but  if  this  is  to  be  used,  it  will  necessitate 
the  introduction  of  more  pipes  of  greater  length 
than  the  tune  length  of  the  note.  This  front 
may  be  made  for  the  organ  to  be  erected  in  a 
church,  where  ample  height  and  space  are  at 
disposal. 

The  heights  of  the  fronts  will  be  12  feet  8> 
inches,  1 1  feet  3  inches,  and  12  feet,  respectively. 
The  width  of  Fig.  1  is  7  feet  3  inches,  Fig.  2, 
7  feet  9  inches,  and  Fig.  3,  6  feet  10  inches- 
The  depth  of  all  three  will  be  4  feet  2  inches- 
without  the  pedals,  which  project  2  feet  beyond 
the  front  of  the  case. 

It  may  seem  that  these  dimensions  are  on  a 
somewhat  large  scale  ;  but  the  more  space  there 
is  provided  for  the  different  parts  of  the* 
mechanism  and  pipes,  the  better  the  instrument 
will  be  when  completed.  The  height  will,  no- 
doubt,  be  considered  a  great  drawback  in  many 
instances  where  the  organ  is  built  for  a  room  -T 
but  I  will  give  directions  as  to  how  the  front 
may  be  lowered  considerably.  Everything  has 
been  kept  up  high,  so  as  to  give  the  front  eleva- 
tion a  more  imposing  appearance.  Fig.  3  must 
remain  as  it  is.  The  width  and  depth  cannot 
be  conveniently  reduced. 

Towards  the  conclusion  of  these  papers  I  will 
give  some  idea  as  to  how  a  second  manual, 
independent  pedal  organ,  and  composition  pedals 
may  be  added,  so  that  almost  any  sized  two- 
manual  instrument  may  be  constructed  on  this 
principle.  The  making  of  metal  pipes  shall 
also  be  described. 

Taking  the  organ  with  one  manual,   as   we 


WOOD  ENGRAVING  FOR   AMATEURS. 


have  decided,  and  giving  account  of  every  detail, 
■with,  the  exact  measurement  of  every  part,  Trill 
give  a  clearer  idea  of  organ  building  than 
"though  I  vrere  to  describe  the  action  of  the 
generality  of  organs.  In  the  next  chapter  vre 
shall  consider  the  quantity  and  kinds  of  wood 
"to  be  used  in  the  construction  of  this  instrument. 


WOOD 


ENGRAVING 
AMATEURS. 


FOR 


By  AN  AMATEUR    ENGRAVER. 

I.— What   Wood  Engraving   is — The  Wood    used— 
The  Tools. 

PROPOSE  in  these  articles  to  give  the 
readers  of  Amateur  \Voek  an  idea  of 
the  manner  in  vrhich  wood  blocks  are 
engraved  for  printing  purposes.  I  shall  describe 
the  tools  used,  and  the  methods  of  using  them ; 
but  the  minute  details  of  the  art  I  shall  not  deal 
very  fully  with.  This  magazine  is  "  written  by 
amateurs  entirely  for  amateurs,"  according  to 
the  prospectus,  and,  bearing  this  in  mind,  I 
shall,  as  an  amateur  engraver,  try  to  present  the 
subject  in  such  a  way  as  will  be  interesting  to 
amateurs  only.  I  shall  not  attempt  to  give 
■elaborate  lessons  in  the  art,  but  shall  describe 
the  tools  and  processes  which  I  consider  most 
useful  to  the  amateur.  The  art  is  a  fascinating 
-one,  and  the  tools  are  simple  and  inexpensive. 
Patience  is  the  principal  requisite,  and  whoever 
attempts  to  follow  the  instructions  given,  must 
bear  this  well  in  mind. 

In  the  past  four  or  five  years  I  have  engraved 
■several  hundred  cuts,  which  have  all  been  used 
in  the  columns  of  a  newspaper,  so  the  work  must 
have  been  fairly  well  done.  The  "  knack  "  of 
■doing  the  work  was  picked  up  entirely  from 
hints  given  by  various  engravers,  and  from 
■experience  that  was  dearly  bought,  in  some  cases. 
These  hints,  and  the  results  of  my  experiences, 
I  now  give  to  the  readers  of  Amateur  Woek  ; 
•and  if  closely  followed,  an  ability  to  do  a  good 
job  of  engraving  will  be  acquired. 

What  Wood  Engraving  is. — "Wood  engraving  is 
the  cutting  away  of  every  part  of  the  block  that 
is  not  drawn  upon,  and  leaving  the  figure  to  be 


engraved  standing  in  relief  from  the  block.  It 
is  exactly  the  reverse  from  copper  and  steel 
engraving,  as  in  the  latter  the  metal  is  cut  away 
where  the  design  is,  and  is  printed  from  by 
filling  the  parts  engraved  with  ink,  and  subject- 
ing it  to  a  heavy  pressure,  to  sink  the  paper  in 
enough  to  take  the  ink  up.  A  wood-cut  is 
exactly  like  printer's  type,  and  is  printed  from 
in  the  same  way. 

The  Wood  used. — Boxwood  is  the  wood  prin- 
cipally used  for  engraving.  It  is  of  the  closest 
grain  of  any  wood,  and  that,  with  its  light  colour, 
makes  it  just  the  thing  for  the  work.  Maple  is 
used  sometimes,  but  its  grain  is  coarser ;  and 
after  working  on  boxwood,  cutting  maple  is  very 
disagreeable  work,  be  your  tools  ever  so  sharp. 
For  large  jobs,  where  no  fine  work  is  needed,  it 
does  very  well ;  but  for  fine,  clear  cut  lines,  box 
is  the  only  wood  that  answers  the  purpose.  For 
coarse  poster  work,  niakoganj^,  holly,  pear, 
dogwood,  and  pine  are  used  ;  but  for  any 
work  that  the  amateur  may  tr}-,  box  will  be  the 
only  wood  he  will  have  any  use  for.  Engravers' 
boxwood  is  imported  largely  from  Turkey,  and 
comes  in  small  logs,  a  foot  or  less  in  diameter. 
These  logs  are  sawed  in  blocks  or  "rounds,"  as 
the  block-maker  calls  them,  across  the  grain, 
and  about  an  inch  thick.  These  rounds  are  full 
of  cracks  and  flaws,  and  formerly  it  was  a  very 
difficult  matter  to  secure  a  perfect  one  large 
enough  for  large  pictures.  But  the  ingenuity 
of  later  days  got  around  this  difficulty,  by  saw- 
ing the  blocks  up  into  pieces,  sorting  out  the 
different  grades  and  qualities,  and  glueing  these 
together  again,  so  as  to  form  blocks  of  any  size, 
and  all  of  about  the  same  quality  of  wood.  To 
give  additional  strength,  tongues  are  inserted 
(as  in  Fig.  1).  Sometimes  these  are  in  the 
shape  of  circular  wooden  rods,  instead  of  flat 
tongues,  as  shown  in  the  figure.  In  large  estab- 
lishments, where  large-sized  pictures  are  needed 
in  a  hurry,  several  blocks  are  fitted  with  bolts 
and  nuts,  so  that  after  the  picture  is  placed  on 
the  block,  it  may  be  taken  apart,  and  the  pieces 
put  into  the  hands  of  several  engravers,  who 
thus  are  enabled  to  get  the  job  done  much 
quicker  than  if  one  was  obliged  to  do  the  whole. 
When  the  parts  are  all  finished,  they  are  bolted 
together  again  ;   and  so  nicely  do  the  boxwood- 


WOOD   ENGRAVING  FOR  AMATEURS. 


fitters  do  their  work,  that  no  one  could  ever  tell 
where  the  joints  occur  in  the  print. 

Boxwood  is  of  a  yellow  colour,  streaked  with 
reddish  and  sometimes  black  streaks.     That  of 


draw   on.      Spots   that  look   unusually   white, 

sometimes  crumble  away  when  the  tool  touches 

them,  as  they  are  nothing  but  rotten  pith.    The 

i  blocks,  as  they  come  from  the  dealer,  however,. 


ri  C.I.  Showing  manner  of  fastening  Boxwood  together 
to  form  blocks. 


Fl  C.  2 .  Square  Graver 


F I C .  3 .  Lozenge  Grayer. 


FIC.  4-.  Scooper. 


FIC.5.  Chisel. 


FIG. 6.  Tint  tool 


\ 


F  l  c  •  7.  Relative  size  of  a  set  of  Tint  tools 

a  pale  yellow  or  straw  colour  is  the  best,  and  the 
graver  will  glide  through  it  so  easily  that 
cutting  it  is  a  pleasure.  The  darker  red  wood  is 
harder  to  cut,  and  is  more  brittle.  The  black 
spots  generally  cut  well,  but  are  not  so  good  to 


FIC. 8 
Handle  for  Engraving  tools. 

are  generally  what  they  are  sold  for,  and  the 
amateur  need  give  no  particular  attention  to 
his  wood,  other  than  to  tell  the  dealer  what  he 
wants,  and  pay  his  price.  The  pithy  places  are 
generally  bored   out,   and   plugged   with   good. 


A   SWINGING  HAMMOCK  CHAIR. 


■wood  ;  so  there  is  no  trouble  from  theru.  A  little 
experience  will  tell  one  what  is  good  and  what 
is  bad  wood,  better  than  any  description.  A 
good  way  for  the  beginner  to  buy  his  wood  is 
to  go  to  the  dealer,  of  whom  there  are  several 
in  any  large  city,  and  buy  a  lot  of  "  scraps  " — 
pieces  that  have  been  sawed  off  blocks  he  has 
been  fitting  for  someone  else.  For  a  small  sum 
he  can  get  all  the  wood  he  can  use  in  six  months. 
By  the  time  he  has  used  it  up,  he  will  be  very 
well  capable  of  selecting  large  blocks,  as  he  will 
be  likely  to  get  odds  and  ends  of  all  kinds  and 
qualities  of  woods. 

The  Tools. — The  tools  used  for  engraving  are 
few  and  inexpensive.     They  consist  of  gravers, 
tint  tools,  scoopers,  and  chisels.     Half-a-dozen 
gravers,  a  dozen  tint  tools,   and  two  or  three 
chisels   and    scoopers    each,    make   a   complete 
outfit,  and  half  that  number  are  sufficient  for 
ordinary  work.     They  can  be  purchased  of  any 
large  tool  dealer  for  a  very  small  sum.      The 
illustrations  show  the  various  shapes  and  sizes. 
I  would  suggest,  as  a  sufficient  number  to  start 
with,  six  tint  tools,  and  two   each  of   gravers, 
scoopers,  and  chisels.     Do  not  be  in  a  hurry  to 
buy  too  many  at  once,  as  you  will   find  that 
after  a  while  you  will  be  doing  all  the  work 
with  a  very  few  ;  and  as  time  progresses,  the 
styles  and  sizes  best  adapted  to  your  work  will 
become   apparent  to  you.      Fig.   2   shows   the 
square  graver,  full  size,  and  Fig.  3  the  lozenge 
graver.     The  latter  style  is  not  so  useful  as  the 
square,  however,   and  need  not  be   bought   at 
first.     Fig.  4  shows  the  scooper,  and  Fig.  5  the 
chisels.     Fig.  6  shows  the  full-sized  tint  tool, 
and  Fig.  7  the   relative  sizes  of  a  set.     These 
tools  are  all  put  in  handles,  the  style  shown  at 
Fig.  8  being  most  popular.     These  handles  are 
made  of  hard  wood,  and  are  flat  on  one  side. 
The  various  sizes  and   shapes   of  tools    should 
be  numbered,  so  that  there  will  be  no  delay  in 
picking  them  up. 


A  Photographer's  Sink  can  be  made  of  wood 
smeared  over  with  4  parts  resin,  1  part  gutta 
percha,  and  a  little  boiled  oil,  melted  together 
and  applied  hot  to  the  perfectly  dry  wood.     Do 


not  use  zinc. 


A  SWINGING  HAMMOCK  CHAIR. 

By  CLERICUS  SECUNDUS. 

I. — Introduction — The  Wood   Required— Details  of 
Construction. 

E  live  in  an  age  of  discoveries — scientific 
and  philosophic.  The  fact,  in  so  far 
as  science  is  concerned,  will  not  have 
escaped  the  readers  of  Amateur  Work  (who, 
of  course,  are  all  intelligent  men) ;  but  they  may 
not  have  noticed  that  the  discovery  which  appeals 
most  closely  to  the  average  mortal,  which,  in 
fact,  we  "feel  in  our  bones,"  belongs  to  the 
domain  of  philosophy. 

Some  of  us,  at  least,  there  are  who,  on  a 
bitter  winter's  morning,  have  felt  the  attraction 
(in  a  quasi  literal  sense)  of  the  bed-clothes, 
and  have  allowed  what  we  thought  was 
the  voice  of  duty  to  worry  us  into  parting 
company  with  our  warm  friends.  Or,  per- 
haps it  has  been  the  heat  of  the  summer  sun, 
and  the  drowsy  drone  of  the  busy  bee  (of 
course  that  substantial  dinner  had  nothiug 
to  do  with  it),  whose  soporific  influences  we 
have  had  to  shake  off,  feeling  more  or  less  like 
heroes  as  we  faced  the  work  and  worry  of  life. 

Well,  we  were  mistaken,  all  of  us,  and  it 
appears  it  would  have  been  more  virtuous  on 
our  part — or,  at  all  events,  more  conducive  to  the 
higher  interests  of  the  race— if  we  had  turned  a 
deaf  ear  to  the  importunate  voice  which  bade  us 
be  up  and  doing,  and  turned  over  for  aaother 
snooze. 

Anyhow,  a  high  philosophic  authority  has 
discovered  that  what  ails  the  age  and  the  race 
is  too  much  of  activity  and  toil,  and  that  the 
gospel  which  we  need  is  the  gospel  of  .Rest. 

If,  then,  any  intrusive  remarks  be  made,  from 
within  or  from  without,  as  to  the  utility  of  going 
in  for  the  citltus  of  the  dolce  far  niente  by  the 
manufacture  and  use  of  our  hammock  chair,  the 
reader  can  beat  off  the  enemy  by  firing  philo- 
sophical dicta  at  him  ;  but  he  need  follow  the 
philosophy  of  Rest  no  further,  unless  he  pleases. 
Who  first  invented  the  hammock  chair  on  the 
principle  herein  described,  deponent  knoweth 
not;  but  (to  drop  the  third  person  sing.)  my 
discovery  of  it  was  on  this  wise  : — 


8 


A   SWINGING   HAMMOCK  CHAIR. 


In  one  of  my  visits  to  the  Paris  Exhibition, 
I  happened  to  enter  it  from  the  Trocadero  end, 
and  was  struck  by  the  exceedingly  comfortable 
(and  lazy)  aspect  of  an  individual  rocking  him- 
self in  a  chair  of  novel  contrivance  (patented), 
and  distributing  prospectuses  to  such  as  came 
■within  his  reach. 
Later  on,  passing 
through  one  of  the 
sections,  I  came 
across  a  contri- 
vance on  like  prin- 
ciples (likewise 
protected),  and  re- 
ceived from  a 
business-like  look- 
ing young  woman 
prospectus  No.  2. 

How  they  re- 
concile their  rival 
■claims  I  have  no 
means  of  knowing; 
but  in  case  any 
amateur  should  be 
too  indolent  or  too 
busy  to  undertake 
the  manufacture 
of  the  chair  him- 
self, I  add  (by 
the  courtesy  of 
the  Editor  and 
Proprietors  of 

Amateur  Woek) 
the  names  and 
Paris  addresses 
of  both  manu- 
facturers. 

1st.  "LeHamac- 
chair      Ifaertens," 
sold  by  the  Franco-American  Commission  ;  office 
— 46,  Eue  Ste.  Anne. 

2nd.  "  Siege-abri  artieule,  le  Francais"  ; 
depot — 13,  Eue  Mandar.  Price,  in  each  case, 
35frs. 

I  trust  this  gratuitous  advertisement  will 
compensate  the  makers  for  any  loss  they  might 
otherwise  be  supposed  to  suffer,  and  merely  add, 
in  my  own  defence  (1),  that  there  is  no  sort  of 
indication  that  the  protection  extends    to    the 


FIG.  I. — SKETCH  OF  CHAIR.  SCALE  T  IN.  EQUAL  I  FOOT.  A,  BACK  ;  B, 
SEAT  ;  C,  ARMS  \  D,  SUPPORT  OF  ARMS  ;  E,  CONNECTION  OK  SUPPORTS 
AND  LEGS;  F,  LEGS;  G,  FOOT-PIECES;  H,  FOOT-REST;  I,  CROSS-PIECES 
TO  CARRV  CANVAS  ;  J,  FRONT  OF  SEAT  ;  K,  CHAIN  TO  REGULATE  IN- 
CLINATION OF  BACK  ;  L,  EYES  TO  WHICH  CHAINS  MUST  BE  FIXED  ; 
M,  ALTERNATIVE  SHAPE  FOR  ARM  ;  N,  SKETCH  SHOWING  HOW  TO 
FASTEN    CANVAS    TO    CROSS-PIECES. 


British  Isles ;  and  (2),  that  I  know  nothing  more 
of  the  chairs  than  is  given  in  the  afore-mentioued 
circulars,  and  that  the  modus  operandi  herein 
described  is  entirely  my  own  conception. 

To  begin,  then,  with  the  wood.    It  had  better 
be  hard,   so  as  not  to  be  too  bulky,  else  our 

chair  will  look 
clumsy.  Ash  will 
do  as  well  as  any, 
but  the  maker 
must  consult  his 
means,  mechanical 
and  financial,  and 
act  accordingly. 

The  top  and  bot- 
tom cross  -  pieces 
should  be  2  inches 
wide,  and  the  piece 
in  front  of  the  seat 
\\  inch  diameter. 
All  the  otherpieces 
should  be  from  1} 
inch  to  \\  inch 
broad.  As  to  the 
width,  if  the  wood 
in  the  rough  be  1 
inch  thick,  it  will 
answer  all  pur- 
poses. They  should 
all  be  slightly 
chamfered  or 
rounded  off  at  the 
edges,  and  bored 
for  the  rivets  \w 
inch  from  the  end . 
This  does  not 
apply  to  the  for- 
ward end  of  the 
arm,  where  the 
hole  must  be  \\  inches  from  the  end. 

The  following  dimensions  may  perhaps  be  con- 
sidered excessive.  The  chair  is  made  to  my  size, 
and  my  inches  are  rather  above  the  average  ;  and 
although  candid  friends  say  my  breadth  is  not 
in  proportion  to  my  height,  it  is  otherwise  with 
the  chair;  for  I  like  an  easy  chair — i.e.,  one  that 
it  is  possible  to  turn  round  in.  The  reader  had 
better  examine  the  given  dimensions  carefully, 
and  alter  them  according  to  size  or  taste. 


A   SWINGING  HAMMOCK  CHAIR. 


The  pieces  required  are  the  following  :- 


Nl'-MBER 
HEEDED 


LETTEIt 

IX 
SKETCH 


Ft.    in. 


Back 

Seat 

Arms 

Support  of  arms... 
Connection  of  arms 

Legs  

Foot-pieces  

Foot-rest  

Top  cross-piece    ... 

Bottom  ditto    

Front  of  seat    


The  cross-piece,  to  take  the  canvas  at  the 
bottom  (likewise  2  inches  wide),  might  also  he 
mortised,  in  which  case  it  must  be  \  inch  less  in 
length  ;  but  it  might  come  in  the  way  of  the 
rivet  which  holds  the  foot-pieces,  and  hence  it 
had  better  be  screwed  on  at  the  back,  the  length 

given  bringing  the 

flush    with 

outside  of  the 

is   important 

comfort    sake 

the  foot-rest 


The  back,  notably, 
may  well  be  somewhat 
less;  but  I  object  to 
having  the  cross-piece 
just  catch  the  back  of 
my  head,  and  the  size 
indicated  allows  of  the 
head  resting  on  the 
canvas  below  it.  Again, 
the  legs  must  be  care- 
fully looked  to,  as  it  is 
important  that  their 
length  should  be  so 
adjusted  as  to  allow  of 
the  feet  resting  fairly 
on  the  foot-rest. 

The  letters  in  the 
sketch  and  in  the  list  of 
materials  will  do  away 
with  any  doubt  as  to 
the  parts  described ; 
and  Fig.  1  will  give  a 
sufficient  idea  of  their 
several  places  and  modes 
of  fixing. 

The  parts  had  better 
be  rivetted  together,  though  at  a  pinch,  1  *  inch 
-wood  screws,  or  nuts  and  bolts  might  be  made 
to  answer  the  purpose. 

In  the  dimensions  given  for  the  top  cross- 
'to  which  the  seat  is  attached,  and  which 
must  be  2  inches  wide),  \  inch  is  allowed  for 
each  tenon.  This  is  also  the  case  with  the  round 
piece  in  front  of  the  seat,  which  must  be  \\  inches 
in  diameter.  These,  it  is  almost  needless  to  saj', 
must  be  solidly  mortised  in. 


FIG.  2.— SKETCH  OF  CHAIR  ON  SWING,  ONE-SIXTEENTH  FULL  SIZE.  A,  CHAINS  FOR  FIXING 
CHAIR  ;  B,  CHAINS  FOR  REGULATING  INCLINATION  OF  BACK  ;  C,  CHAINS  FOR  SUPPORTING 
CHAIR  ;  D,  IRON  ROD  TO  CARRY  CHAINS  AND  KEEP  THE  FRAME  TOGETHER  ;  E,  IRON 
kODS  TO  PREVENT  THE  FRAMES  FROM  SLIPPING  APART. 


should  remain  at  right  angles  to  the  legs  ; 
but  the  foot-pieces  being  rivetted  like  the  rest 
of  the  chair,  a  screw,  or  wooden  peg,  must  be 
driven  into  these  pieces  just  forward  of  the 
leg  (c,  Fig.  1),  to  prevent  their  falling  outward. 
If  preferred,  however,  I  do  not  see  but  what- 
the  foot-pieces,  instead  of  being  rivetted, 
might  be  simply  screwed  on  in  the  position 
indicated. 

It   will    probably   be    found    convenient    to 


10 


A   SWINGING  HAMMOCK  CHAIR. 


construct  the  chair  as  follows  : — Prepare  all  the 
pieces  required,  then  rivet  the  back  and  legs  to 
the  seat,  mortise  the  top  cross-piece  and  the 
piece  in  front  of  the  seat,  and  screw  on  the 
bottom  cross-piece.  We  now  have  the  frame- 
work of  our  chair,  minus  arms  and  foot-rest. 

Now  is  the  time  to  fasten  on  the  seat.  As 
to  the  material  of  which  this  latter  is  to  be  com- 
posed, the  maker  must  suit  his  means  or  fancy. 
Stair  carpet  will  answer  every  purpose,  and 
has  the  advantage  of  variety  in  the  matter  of 
pattern.  On  the  other  hand,  canvas  harbours 
dust  less,  and  has  the  further  advantage  of 
being  cooler. 

The  American  chairs  have  a  kind  of  striped 
canvas,  which,  if  procurable  in  England,  will 
perhaps  be  found  most  suitable. 

To  get  at  the  length  required,  stretch  the  chair 
frame  on  the  floor,  face  downward,  measure  its 
extreme  length,  and  add  6  inches  for  turning  in. 
The  canvas  may  be  bound  over  at  the  ends,  to 
prevent  the  material  from  tearing  away,  or 
i  inch  may  be  turned  under,  and  the  nails  driven 
through  the  double  thickness. 

Nail  the  canvas  on  the  under  edge  of  the  back 
cross-piece,  and  bring  it  over  the  back  and  down 
the  front  of  the  cross-piece  in  question.  (Fig.  1, 
n,  will  give  an  idea  of  what  I  mean.)  This 
will  tend  to  equalise  the  strain  on  canvas  and 
cross-piece. 

Then  passing  the  canvas  under  the  chair — 
which  is  supposed  to  be  face  downward  on  the 
floor— stretch  it  taut  over  the  frame,  pass  it 
under  the  bottom  cross-piece,  and  fasten  it  on 
the  upper  edge  as  before. 

The  other  parts,  i.e.,  the  arms,  supports,  and 
connecting  pieces,  may  now  be  rivetted  on,  as 
may  also  the  foot-pieces,  the  foot-rest  having 
first  been  screwed  ou. 

The  chair  will  now  resemble  Fig.  1,  less  the 
chains,  of  which  more  presently. 

It  will  add  both  to  the  appearance  and  comfort 
of  the  chair  if,  instead  of  the  straight  arms  shown 
attached  to  the  chair,  arms  curved,  as  at  m,  be 
substituted.  These  should  be  of  1J  or  even 
2-inch  wood,  and  being  cut  as  near  as  possible 
with  the  saw,  must  be  finished  off  with  rasp 
and  file. 

Unless,  however,  the  amateur  has  access  to  a 


powerful  fret  or  scroll  saw,  it  may  give  him 
some  little  trouble,  and,  after  all,  the  arms  shown 
in  the  sketch  will  answer  every  purpose,  and 
leave  the  chair  well  within  the  powers  of  the 
most  elementary  knowledge  and  the  simplest 
tools. 

We  now  have  our  chair  complete  ;  but  as 
Jones  said  of  his  friend  whose  portrait  he  was 
contemplating,  it  "wants  hanging." 

The^deal  and  idyllic  method  would  be  doubtless 
to  fasten  it  to  the  low-hanging  bough  of  some 
giant  of  the  forest,  or  some  lesser  grandee  in 
the  park  of  some  one  of  the  "  stately  homes  of 
England." 

But,  alas  !  "  spreading  chestnut"  (and  other) 
trees  do  not  grow  about  the  homes  of  most  of 
us;  that  enterprising  builder  of  the  "semi- 
detached," Mr.  Jerry,  having  omitted  that  item 
from  his  "  desirable  residences." 

Should  any  of  my  readers  be  the  enviable 
possessor  of  broad  acres,  etc.,  the  plan  about  to 
be  suggested  can  easily  be  adapted  to  his  more 
desirable  circumstances.  But  I  write  for  the 
less  favoured  chiefly,  and,  moreover,  the  plan 
proposed  will  permit  of  the  chair  being  put  up 
anywhere,  thus  adding  materially  to  the  comfort 
of  a  visit  to  the  country  or  the  seaside. 
(To  be  continued.) 


Albumen  Papee  for  Blue  Prints.— Very 
pretty  effects  may  be  produced  by  printiDg  on 
ordinary  albumen  paper  sensitized  with  the 
following  solution : — 

Citrate  of  iron  and  ammonia  .     2f  drachms 
Dissolved  in  water..  ..     2    ounces 

Eed  prussiate  of  potash       . .     2£  drachms 
Dissolved  in  water..  ..     2    ounces 

Mix  equal  parts  just  before  using,  as  the  mixed 
solution  will  not  keep,  and  float  the  paper  as  on 
the  silver  bath,  film  down,  for  half  a  minute  or 
so,  and  suspend  by  one  corner  in  a  dark  room 
to  dry.  Detail  can  be  brought  out  almost  equal 
to  silver  prints,  while  the  ease  of  working  and 
the  cheapness  make  it  quite  desirable.  The 
prints  can  be  mounted  and  burnished.  Do  not 
try  to  keep  the  paper  sensitised,  but  make  up 
fresh  when  wanted.— J.  T.  M. 


QIIUCKS  FOR   "MY  LATHE: 


II 


CHUCKS   FOR    "MY    LATHE." 

By  REV.  J.  L.  DWYER,  B.A. 


-The  Driving  Chcck — The  Face-plate  and  its 
Attachments — The  Drill  Chuck — The  Bell 
Chcck— The  Mandrel  —  Wooden  Chucks  —  The 
Pipemaker's  Chuck. 


Jjppl^l  LATHE  -without  chucks  is  quite 
t  =p  l$j  useless;  so  it  is  probable  that  I  would 
IjggLlg  have  given  some  description  of  these 
indispensable  adjuncts,  even  if  our  indulgent 
Editor,  ever  mindful  of  the  requirements  of  his 
readers,  had  not  requested  me  to  do  so.  I  will 
touch  very  lightly  on  the  more  common  order  of 
chucks,  because  thej-  were  described  at  length 
.in  an  admirable  series  of  articles,  written  by 
Rev.  James  Lukin,  which  appeared  a  few  years 
ago  in  the  first  series  of  this  magazine.  At  the 
same  time,  it  would  not  do  to  pass  them  over  in 
silence,  as  I  know  there  are  many  new  readers 
and  subscribers  who  would  be  unable  to  refer 
to  the  early  pages,  and  might,  therefore,  be  at 
a  loss  to  know  how  a  driving  chuck  or  face- 
plate is  manufactured. 

The  chucks  usually  siipplied  with  new  lathes 
are  :  (1)  driving  chuck,  (2)  face-plate,  (3)  drill 
chuck. 

The  Driving  Chuck  is  shown  in  Figs.  1  and  2. 
I  usually  make  its  diameter  equal  to  the  height 
of  the  lathe  centres,  and  the  thickness  of  the 
plate  from  one-ninth  to  one-twelfth  the  height 
of  lathe  centres.  Thus,  for  a  3-inch  centre 
lathe  the  plate  would  be  3  inches  diameter  and 
^  inch  thick.  In  a  larger  lathe  it  may  be  some- 
what smaller  and  thinner  in  proportion.  Thus, 
for  my  6-Lnch  centre  lathe  the  driving  chuck  is 
5  inches  diameter  and  £  inch  thick.  If  the 
pattern  is  made  at  home,  the  boss  should  be 
much  larger  and  longer  than  the  finished  size  of 
chuck,  something  like  that  shown  by  the  dotted 
lines,  as  I  find  that  the  castings  are  often  spongy 
just  at  that  place. 

To  make  the  chuck,  it  should  be  clamped 
centrally  to  the  face-plate  of  the  working  lathe, 
and  the  hole  bored  out  by  holding  a  drill  against 
it,  which  is  advanced  by  the  poppet  screw.  The 
hole  left  by  the  drill  ought  to  be  trued  out 
perfectly  with  an  inside  tool,  held  preferably  in 
the  slide-rest,  and  it  will  be  ready  for  screwing. 


This  could  best  be  done,  if  the  working  lathe  is 
screw-cutting,  by  putting  on  the  appropriate 
change  wheels,  and  cutting  it  out  with  an  inside 
tool ;  but  I  find  it  is  nearly  as  good  to  cut  it 
with  a  tap,  advancing  it  carefully  with  the 
poppet  screw,  and  giving  the  lathe  a  few  turns 
every  now  and  again,  to  see  that  the  tail  end  of 
the  tap  runs  true. 

Having  screwed  it,  the  driving  chuck  should 
be  run  on  the  nose  of  its  own  lathe,  and  turned 
all  over,  and  the  boss  turned  to  the  proper 
length  and  diameter. 

This  turning  of  the  boss  could  well  have  been 
done  before  it  was  screwed  ;  better,  indeed,  than 
afterwards  ;  and  if  there  were  any  blow  holes, 
they  could  be  detected  before  a  good  deal  of 
work  had  been  expended  on  the  casting.  A  few 
holes,  drilled  and  tapped  for  driving  pins,  will 
complete  this  chuck.  The  driving  pins  will  vary 
from  |  inch  to  f  inch  in  lathes  from  3-inch  to 
8-inch  centres.  The  driving  pins  are  frequently 
not  screwed  at  all,  being  sometimes  held  in  by 
simple  friction,  and  at  other  times  a  set  screw 
nips  them  in  the  hole.  Sometimes,  again,  a  rib 
radiating  from  the  centre  strengthens  the  part 
where  the  holes  come ;  but  this  would  prevent 
the  chuck  from  being  turned  at  the  back,  which 
is  not  advisable. 

The  Face-plate  is  shown  at  Eig.  3.  When  one 
only  is  used,  it  ought  to  be  as  large  as  the  lathe 
will  take  in,  i.e.,  nearly  double  the  height  of 
centres  in  diameter;  but  for  a  lathe  of  more  than 
5-inch  centre,  it  would  be  well  to  have  a  couple. 
For  a  6-inch  gap  lathe,  one  8  inches  diameter,  and 
one  from  14  inches  to  18  inches  would  be 
suitable  ;  the  thickness  of  web  would  vary  from 
|  inch  to  f  inch,  according  to  the  size  of  lathe. 
In  very  large  face-plates  it  is  better  to  put 
strengthening  ribs  than  to  have  them  of  exces- 
sive weight.  The  arrangement  of  slots  (shown 
in  Fig.  3)  is  very  convenient  for  a  small  plate, 
but  in  larger  ones  they  would  be  far  more 
numerous.  If  a  bolt  is  required,  however,  in  a 
part  where  there  is  not  a  slot,  holes  can  easily 
be  drilled,  and  after  some  time  they  will  get 
so  numerous  that  few  new  ones  will  be  wanted. 
Slots  may,  indeed,  be  avoided  altogether  in 
small  face-plates ;  and  where  one  has  to  be 
turned  with  hand  tools,  it  would  be  well  to  get 


12 


CHUCKS  FOR   "MY  LATHE P 


the  plate  cast  plain,  and  bore  the  holes  after  it 
has  been  turned.  All  the  slots  should  be  of  a 
■uniform  width,  varying  from  \  inch  to  f  inch, 
according  to  size  of  plate.  In  connection  with 
the  face-plate  should  always  be  found  some  other 
attachments,  viz. : 

Clamping -plates. — Of  these,  four  or  five  will  be 
■sufficient ;  they  are  usually  made  of  iron,  punched 
or  drilled  in  one,  two,  or  three  places.  Figs.  7 
and  8  show  some  suited  for  4-inch  to  6-inch 
centre  lathe.  Fig.  6  shows  clamping-plates  used 
to  affix  a  small  face-plate  to  a  large  one  while 
the  former  is  being  bored.  It  will  be  seen  that 
the  tightening  of  the  bolt  will  hold  the  work 
very  firmly ;  four  would  be  used  for  such  a  job. 
It  will  be  seen  that  the  back  ends  of  the 
clamping-plates  rest  upon — 

Packing  Pieces. — Of  these  it  would  be  well  to 
have  a  good  stock,  and  thejr  can  very  easily  be 
made  by  sawing  four  or  five  1-inch  lengths  each, 
from  bars  of  square  iron,  ranging  from  -J-  inch  to 
=|  inch  square.  Thinner  ones  had  best  be  cut 
from  flat  iron,  but  an  inch  long  is  quite  enough 
for  any  likely  to  be  required  by  the  amateur. 
When  they  are  longer  they  look  ugly,  knock 
the  knuckles,  and  are  perpetually  in  the  way. 
All  the  attachments  for  the  face-plates  should 
be  kept  neatly  stowed  away  in  a  shallow  drawer, 
so  that  no  difficulty  will  be  experienced  in 
finding,  at  a  moment's  notice,  what  is  required. 
I  may  here  mention  another  very  useful  attach- 
ment for  the  face-plate,  which,  I  thought,  until 
very  recently,  was  my  own  invention,  viz. — 

Bog  Jaws. — These  are  shown  in  Figs.  9  and 
10,  and  make  a  face-plate  almost  as  useful  as 
the  expensive  four-jaw  chuck.  The  sizes  illus- 
trated will  suit  any  lathe  from  4-inch  to  6-inch 
centre,  and  can  be  made  with  little  trouble.  I 
usually  turn  them  from  square  cast  steel,  which 
I  leave  soft.  To  make  four,  as  shown,  take  a 
piece  of  steel  1J  inches  square,  11  inches  long; 
centre  it,  and  turn  down  the  parts  required  for 
the  shanks  ;  then  cut  the  four  asunder,  and  tap 
the  parts  required  for  the  bolts.  I  may  mention 
that  the  shoulders  should  be  square  and  true. 
The  hole  for  the  transverse  screw  should  next 
be  drilled  and  tapped.  If  anything,  it  should 
slope  a  little  towards  the  centre,  as  shown,  very 
much  exaggerated,  in  Fig.  11.     This  will  make 


the  work  bed  truly  against  the  face-plate  when 
the  screws  are  tightened  up.  The  transverse 
screw  is  also  made  of  square  cast  steel,  left 
soft.  It  is  §  inch  diameter,  and  as  much  longer 
than  the  hole.  One  end  is  left  square  to  fit  a 
key,  and  a  little  steel  button,  with  its  face 
roughened  and  hardened  like  a  vice-jaw,  is 
affixed  rather  loosely  to  the  other.  It  is  really 
affixed  like  a  spherical  washer,  as  seen  in  Fig. 
12.  A  centre  punch  will  expand  the  end  of  the 
screw  enough  to  prevent  the  washer  from  falling 
off.  The  holes  in  the  face-plate  should  be  tho 
same  size  as  the  shank  of  the  dogs,  as  should 
also  be  the  width  of  the  slots. 

It  is  scarcely  necessary  to  explain  how  these 
dogs  may  be  used.  If  a  thick  disc  has  to  be. 
turned  on  the  face,  it  is  laid  centrally  on  the 
face-plate,  the  dogs  are  slipped  into  the  nearest 
holes,  bolted  down,  and  the  transverse  screws 
tightened  up  until  the  work  is  quite  firm. 
Again,  if  the  hole  for  crank  in  an  eccentric  is' 
required  to  be  bored,  it  is  evident  that  it  can  be 
held  eccentrically  as  well  as  concentrically.  I 
now  pass  on  to — 

The  Prill  Chuck.— This  is  shown  in  Fig.  4,  and 
a  reducer  is  seen  in  Fig.  5.  I  usually  make  it 
of  Bessemer  steel,  but  some  people  use  cast  iron. 
The  tapping  of  the  hole  is  rather  difficult,  and 
requires  three  taps — taper,  intermediate,  and 
plug.  Even  with  them  it  is  sometimes  hard  to 
catch  the  thread. 

It  is  sufficient  to  have  the  hole  for  drills 
\  inch  diameter,  for  small  lathes,  and  the  steel 
set  screw  should  be  from  J  inch  to  §  inch.  The 
head  should  project  as  little  as  possible,  else  it 
might  catch  the  hand  of  the  operator ;  and  that 
it  would  give  an  ugly  knock,  I  can  personally 
testify. 

If  a  large  drill,  say  from  \  inch  to  f  inch,  is 
required,  steel  the  full  size  of  the  hole  may  be 
used ;  but  it  would  be  great  waste  to  use  steel 
|  inch  thick  for  a  \  inch  drill.  It  is  well,  then, 
to  have  plugs  which  fit  the  chuck  tightly,  and 
are  drilled  with  smaller  holes. 

I  have  plugs  from  \  inch  to  \  inch,  and  bars 
of  good  steel  to  fit  them.  If  I  want  a  drill 
ft  inch  diameter,  I  put  the  \  inch  plug  in  place, 
put  in  the  ^-inch  steel  bar,  and  nip  it  with  the 
set  screw,  cut  off  the  required  length  with  the 


CHUCKS  FOR   "MY  LATHE." 


15 


edge  of  a  file,  thin  down  the  part  required  with 
the  file  (the  lathe  running  during  the  cutting 
off  and  thinning  processes),  until  it  is  less  in 
diameter  than  iV  inch ;  then  flatten  the  point, 
form  the  diamond  point  with  a  smooth  file, 
harden  and  temper,  and  the  drill  is  ready  for 
work.     This  takes  a  very  few  minutes  indeed. 


For   a  \  inch   drill   I  would  use  steel  \  inch 
diameter,  and  so  on. 

This  chuck  is  useful  for  many  other  purposes: 
e.g.,  I  have  a  number  of  brass  plugs,  to  some  of 
which  I  can  attach  work  with  solder;  others 
have  screwed  holes,  which  take  screws  while  the 
heads  are  being  finished.     In  others,  again,  the 


FIC.I3. 


FIGS.  I  AND  2. — DRIVING  CHUCK. 

FIG.  3. — FACE-PLATE. 

FIG.  4. — SECTION  OF  DRILL  CHUCK. 

FIG.  5. — REDUCING   PLUG   FOR    DRILL   CHUCK. 

FIG.  6. — METHOD  OF  USING  CLAMPING  PLATES  WITH  FACE- 
PLATE. 

FIG.  7  AND  8.— SIDE  AND  END  VIEWS  OF  STRONG  CLAMPING 
PLATE, 


FIC.6. 

DESCRIPTION   OF  FIGURES. 

|    FIGS.   9   AND   10.— SECTION   AND  END   VIEW  OF   DOG  JAWS. 
FIG.     II. — SHOWS    HOW    SCREW     SHOULD    POINT    TOWARDS 

CENTRE. 
FIG.  12. — SPHERICAL  WASHER   AT  END  OF  SCREW. 
FIG.   13. — FRONT   VIEW   OF   BELL  CHUCK. 
FIG.   14.  —PRONG   CHUCK   FOR   TURNING   WOOD. 
FIG.  15. — SECTION   OF   PIPEMAKER'S   CHUCK. 
FIG.  16.— END  VIEW  OF  DITTO. 


14 


CHUCKS  FOR   "MY  LATHE: 


holes  are  large  enough  to  take  the  tenon  pieces, 
cast  to  certain  portions  of  model  engines  which 
require  to  be  turned.  If  I  want  to  turn  the 
faces  of  little  nuts,  I  put  a  piece  of  steel  of 
appropriate  size  in  its  plug,  turn  it  down  to  the 
required  size,  leaving  only  a  short  length  pro- 
jecting from  the  chuck,  screw  it  to  fit  the  nuts, 
and  I  can  run  them  on  and  finish  them  as  fast 
as  possible.  The  pronged  chuck  for  wood  (Fig. 
14)  also  fits  into  the  drill  chuck.  I  must  pass 
on  to — 

The  Bell  Chuck. — This,  I  think,  is  not  a 
favourite  with  anybody  (although  useful  for  a 
great  variety  of  work),  principally  because  the 
screws  hit  the  knuckles  most  unmercifully.  Its 
construction  is  so  well  seen  in  the  engraving, 
that  it  scarcely  requires  any  description.  It 
should  be  turned  inside  and  out,  slightly 
tapered  inside,  and  when  the  screws  meet  in  the 
centre,  the  heads  should  project  as  little  as 
possible.  I  make  them  hexagon  for  a  box 
spanner,  not  with  a  hole  for  a"  tommy,  as  shown. 
If  the  internal  diameter  of  the  chuck  is  more 
than  2  inches,  it  is  well  to  have  eight  screws — 
four  in  one  plane  towards  the  front,  and  four 
others  farther  back.  The  points  of  the  screws 
should  be  hard,  and  they  will  vary  in  diameter 
from  f  inch  to  §  inch.  Although  not,  in  one 
sense,  a  chuck,  I  may  be  permitted  to  mention — 

The  Mandrel. — This  is  a  bar  of  metal  running 
between  the  centres,  turned  often  slightly  taper, 
so  that  a  ring  can  be  forced  on  and  turned  on 
its  outside.  Sometimes  mandrels  are  parallel,  as 
when  an  engine  cylinder  is  driven  on  one,  in 
order  to  have  its  flanges  turned  true  to  its  axis. 
I  will  next  pass  on  to — 

Wooden  Chucks. — These  are  most  useful,  and 
at  one  time  constituted  the  chief  stock-in-trade 
of  the  brass  finisher.  They  are  best  made  of 
boxwood,  but  beech  does  very  well.  A  good 
number  should  be  kept  on  hand.  They  are 
easily  made.  A  block  of  wood  is  fastened  to 
the  face-plate  with  screws,  the  front  is  faced  up, 
and  a  hole  bored  of  suitable  size*  for  the  lathe- 
nose.  The  tap  is  then  inserted  and  screwed  in, 
taking  care  that  it  is  true  with  the  axis  of  the 
lathe.  If  the  hole  is  not  a  thoroughfare  one, 
three  taps  will  be  required,  as  was  the  case 
with  the  drill  chuck,  or  else  it  should  be  chased 


with  a  screwing  tool.  The  block  is  then  taken 
off  the  face-plate,  screwed  on  to  the  lathe-nose, 
and  the  outside  and  front  turned  true.  If  at 
any  future  time  we  want  to  turn  a  box,  or  any- 
thing round,  it  is  only  necessary  to  turn  a  hole 
in  the  chuck  that  it  will  fit,  drive  it  in,  and  it 
will  easily  stand  to  be  turned.  A  new  chuck 
need  not  be  made  for  each  piece  of  work.  If 
the  new  ones  are  made  use  of  for  the  smaller 
pieces  of  work,  the  holes  can  be  gradually 
enlarged  to  take  work  of  increasing  diameter, 
until  the  shell  is  too  thin  to  hold.  Then  it  can 
be  turned  off,  and  a  new  hole  sunk  deeper ;  for 
there  are  usually  two  or  three  depths  of  holes 
in  a  chuck,  the  holes  being  rarely  more  than 
\  inch  deep.  Another  description  of  wooden 
chuck  is  shown  in  Figs.  15  and  16,  and  may,  I 
think,  fairly  be  called — 

The  Pipemaker'1  s  Chuck,  as  it  is  largely  used 
by  men  of  that  craft.  It  consists  of  a  good 
stout  block  of  tough  wood,  like  ash,  screwed  on  ' 
to  the  lathe-nose,  and  turned  down  true ;  a 
hollow  is  made  where  shown,  and  a  hole  bored 
across,  so  that  the  wood  is  comparatively  thin 
there,  and  can  spring.  The  centre  hole  is 
drilled  next,  the  section  cut  out,  as  seen,  and 
a  bolt  passed  through  the  jaws.  There  is 
enough  spring  to  admit  of  some  difference  in 
the  size  of  the  work  which  this  chuck  will 
admit.  My  mechanical  brother  has  one  of  these 
chucks,  and  thinks  very  highly  of  it ;  but  I  must 
confess  that  I  never  had  one  myself,  and  per- 
haps, in  consequence,  do  not  think  much  of  it. 

I  must  now  conclude  this  paper  ;  but  in  my 
next  I  hope  to  describe  the  king  of  chucks — the 
independent  four-jaw  chuck,  and  a  couple  of 
two-jaw  chucks  of  my  own  design. 


Brass-mountings  in  Furniture  when  tarnished 
may  have  their  lustre  renewed  by  first  rubbing 
them  with  a  strong  lye  of  wood  ashes,  then 
pickling  them  in  diluted  aqua  fortis  of  sufficient 
strength  to  remove  the  stains,  washing  them  in 
pure  water,  and  drying  by  artificial  heat. — 
Builder  and  Woodworker. 

Paint  Spots  may  be  removed  from  wood  by 
covering  them  with  a  thick  coating  of  lime  and 
soda.     Wash  off  after  twenty-four  hours. 


AN  ENGINE    WITHOUT  A    CONNECTING  ROD. 


15 


AN    ENGINE    WITHOUT    A 
CONNECTING    ROD. 

By  ELECTRON. 


HIS  engine  consists  of  few  parts,  and 
will  not  be  difficult  to  construct ;    it 
may  be  used  for  working  a  pump,  or 
any  machinery  not  requiring  great  speed. 


means  of  a  guide,  but  when  a  pump  is  fixed  to 
tbe  engine,  it  takes  the  place  of  tbe  guide. 

The  cylinder  is  \\  inches  bore,  and  3  inches 
stroke;  it  is  bored  and  fitted  in  the  same 
manner  as  described  for  "  Beam  Engine,"  in  Part 
24  of  Amateur  "Work  (New  Series),  except  that 
the  bottom  cover  is  circular,  and  turned  bright. 
Four  brackets  are  cast  on  the  cylinder,  by  which 
it  is  bolted  to  bed-plate  ;  these  must  be  filed  on 


KJl 


FIC  2. 
Plan  of  Engine 


F I  C.  I    Side  Elevation  of  Engine  with  crank  removed. 


Fig.  1  is  a  side  elevation,  and  Fig.  2  a  plan 
view.  It  will  be  seen  from  the  drawing  that 
the  crank  receives  its  motion  direct  from  the 
piston-rod  by  means  of  brasses  working  in  a 
slot  or  link.     The  piston  rod  is  kept  parallel  by 


the  underside,  parallel  to  the  bore  of  cylinder. 
They  can  be  marked  by  means  of  a  scribing 
block. 

The   bed -plate    is    12   inches   long,    and   is 
of  the  box  form,  the  metal  being  \  inch  thick. 


16 


AN  ENGINE    WITHOUT  A    CONNECTING  ROD. 


Chipping  pieces  must  be  east  on  for  the  cylinder 
brackets,  crank  shaft  bearings,  and  guide  ;  these 
must  be  filed  straight  and  parallel.  The  cylinder 
is  bolted  down  by  four  bolts,  a  centre  line  being 
drawn  on  the  bed-plate,  to  set  it  by. 

The  crank  shaft  bearings  are  cast  iron  with 
brasses,  and  loose  covers  fixed  by  screws ;  the 
brasses  must  be  fitted  so  that  their  centres  are 
in  line  with  the  centre  of  cylinder.  The 
bearings  are  fixed  to  bed-plate  by  two  bolts  in 
each.  The  link  in  which  the  crank  works  is  of 
wrought  iron  or  steel ;  bosses  are  formed  on 
the  back,  in  which  the  piston  rod  is  screwed  ; 
the  face  must  be  filed  straight  and  the  edges 
parallel ;  the  width  is  \  inch ;  a  block  or  dis- 
tance piece  is  fitted  at  each  end,  and  a  bolt  put 
through  each  end  to  secure  it.  When  these 
bolts  are  screwed  up,  a  hole  should  be  drilled 
through  the  nut  and  end  of  bolt,  and  a  pin  in- 
serted, to  prevent  it  working  loose. 

The  guide  is  drilled  with  £-inch  hole  to  fit 
piston  rod,  and  bolted  to  bed-plate  by  two  bolts  ; 
the  hole  must  be  in  line  with  centre  of  cylinder. 

The  crank  shaft  is  of  wrought  iron,  the  web 
being  forged  solid.  Turn  the  shaft  §  inch 
diameter,  and  turn  two  recesses  \  inch  diameter, 
to  fit  into  bearings.  The  shaft  should  be  made 
\\  inches  longer  than  is  required,  and  \  inch 
at  each  end,  turned  down  to  §  inch,  and  screwed 
for  a  nut.  Then  cut  the  web  out,  by  drilling 
holes  in  it,  and  cut  out  with  a  chisel ;  file  the 
web  out  square,  and  fix  to  each  end  of  shaft  a 
piece  of  iron,  by  the  nuts  already  fitted  ;  drill  in 
each  piece  of  iron  a  hole  for  lathe  centres  for 
turning  crank  pin,  which  must  be  \\  inches 
from  centre  of  shaft,  and  fix  them  in  line  with  the 
centre  of  pin  ;  also  fix  firmly  between  the  iron 
and  the  web  two  pieces  of  wood,  to  prevent  shaft 
bending  while  turning  the  pin  ;  then  fix  in  the 
lathe,  and  turn  the  crank  pin  \  inch  diameter. 
Strong  brasses  must  be  fitted  into  the  link,  with 
a  flange  at  each  side,  and  bored  to  fit  crank  pin. 

The  fly-wheel  is  10  inches  diameter,  with  the 
rim  and  edges  turned  true  ;  it  must  be  bored  to 
tit  on  shaft,  and  is  fixed  by  means  of  a  key,  a 
keyway  being  cut  in  the  shaft,  and  in  the  boss 
of  wheel. 

The  eccentric  sheave  is  of  iron,  about  \\ 
inches  diameter,  with  brass  straps  fixed  by  bolts ; 


a  tenon  about  \  inch  square  is  turned  on  the 
edge,  and  a  corresponding  groove  is  turned  in 
the  straps.  The  eccentric  rod  is  of  iron,  with  a 
double  end,  and  connected  to  slide  valve  spindle- 
by  a  small  bolt.  A  keyway  is  cut  in  the  eccen- 
tric sheave  and  in  the  shaft,  and  the  sheave- 
fixed  by  means  of  a  key. 

The  slide  is  set  so  that  the  port  is  just  begin- 
ning to  open  when  the  piston  arrives  at  that 
end  of  cylinder. 

The  whole  must  be  fitted  together  so  that 
each  part  works  easily,  but  without  any  slack- 
ness. The  bed-plate  should  have  six  holes 
drilled  in  it,  to  fix  it  to  a  wood  foundation,  and 
all  the  iron  work  not  finished  bright  should  be 
painted,  to  give  it  a  neat  appearance.  A  single- 
crank  may  be  used  instead  of  a  crank  shaft ;  but 
in  this  case  another  bed-plate  will  be  required 
for  the  outside  bearing. 


Cleaning  Soiled  Engravings. — It  frequently 
happens  that  fine  engravings,  notwithstanding 
every  precaution,  become  soiled  and  stained,  and 
a  recipe  for  restoring  them  is  valuable.  Put  the 
engraving  on  a  smooth  board,  and  cover  it  with 
a  thin  layer  of  common  salt,  finely  pulverised  \. 
then  squeeze  lemon-juice  upon  the  salt  until  a 
considerable  portion  of  it  is  dissolved.  After 
every  part  of  the  picture  has  been  subjected  to- 
this  treatment,  elevate  one  end  of  the  board  so- 
that  it  will  form  an  angle  of  about  forty-five 
degrees  with  the  horizon.  Then  pour  on  the 
engraving  boiling  water  until  the  salt  and  lemon- 
juice  are  well  washed  off.  It  will  then  be  per- 
fectly free  from  stain.  It  must  be  dried  on  the 
board,  or  on  some  smooth  surface,  gradually.  If 
dried  by  the  fire  or  sun  it  will  be  tinged  of  a 
dingy  yellowish  colour. —  Wilson's  Photographic 
Magazine. 

An  excellent  and  quick  way  to  Mend  Broken" 
Plaster  Casts  and  impressions  is  to  paint  the 
broken  surfaces  over  two  or  three  times  with 
very  thick  shellac  varnish,  and  at  each  applica- 
tion to  burn  out  the  alcohol  over  a  flame.  When 
the  shellac  is  sufficiently  soft,  press  the  parts 
together,  and  hold  in  position  to  cool.  It  will  be 
as  strong  as  it  was  before  broken. 


PORTRAIT  PHOTOGRAPHY  BY  ARTIFICIAL   LIGHT. 


17 


AMATEUR    WORK 

PRIZE    SCHEME. 


EADERS  of  Amateur  "Work  will  be 
pleased  to  hear  that  tlie  Publishers 
have     authorised    me    to    offer    the 


sum  of 


THREE    GUINEAS   PER   MONTH 

in  prizes,  with  the  object  and  in  the  hope  of 
encouraging  Amateurs,  by  means  of  competition, 
to  raise  the  standard  of  their  work  to  a  higher 
-degree  of  excellence. 

I  shall  endeavour  to  give  everyone  in  turn  a 
-chance  of  competing  ia  the  class  of  work  which 
he  has  adopted  as  his  own  particular  hobby ; 
while  the  "good  all-round"  men  will  find  an 
ample  variety  of  subjects  on  which  to  test 
their  skill. 

This  month  I  offer  the  following  prizes  for 
competition  : — ■ 

I.  A  PRIZE  OF  ONE  GUINEA  for  the  best  written 
paper  describing  the  construction  of  any  article  of 
woodwork  (other  than  fretwork,  althougb  fretwork 
luay'be  used  as  an  ornamental  part  of  the  article 
if  desired.)  Simplicity  of  construction  in  the 
article  described  will  be  considered  in  awarding  tbe 
prize.  It  is  desirable  that  the  paper  should  be 
accompanied  by  drawings,  which  need  not  of 
necessity  be  highly  finished ;  and  the  MS.  should 
not  exceed  two  thousand  words  in  length,  although 
it  may  be  as  short  as  one  hundred  words,  with  an 
equal  chance  of  success.  The  Publishers  reserve 
the  right  to  publish  any  MS.  sent  in. 
II.  A  PRIZE  OF  ONE  GUINEA  will  be  given  for 
the  best  print  from  a  half-plate  view  negative. 
Both  print  and  negative  must  be  the  production  of 
the  competitor,  I  do  not  require  the  negative  to 
be  sent  up  with  the  print,  but  the  winner  of  the 
prize  must  be  prepared  to  produce  the  negative  for 
inspection  if  desired.  A  competitor  may  send  in 
as  many  prints  as  he  pleases,  but  each  print  must 
be  mounted,  and  have  the  competitor's  name  and 
address  clearly  written  on  the  back. 
III.  A  PRIZE  OF  ONE  GUINEA  will  be  given  for 
the  best  specimen  of  Fret-Cutting  in  any  of  the 
following  woods : — Pear,  Walnut,  Oak,  Cherry, 
Holly,  or  Ihree-ply  Fretwood.  The  chief  con- 
eideration  in  awarding  the  prize  will  be  excellence 
of  workmanship,  design  being  a  secondary  con- 
sideration, so  that  the  simplest  piece  of  work  will 
stand  an  equal  chance  with  the  most  elaborate 
design. 


R  ULES. 

(1).  All  articles  sent  in  for  competition  must  be  tbe  work 
of  bona  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  sent  in  not 
later  than  December  31st,  carriage  paid,  and 
addressed  —  The  Editor  op  Amateor  Work, 
Warwick  House,  Salisbury  Square,  London,  E.G. 

(3).  Each  article  must  have  a  label  attached  bearing  tbe 
name  and  address  of  the  competitor,  and  the 
number  of  the  competition  for  which  he  enters. 

(4).  The  decision  of  the  Editor  shall  be  final. 


PORTRAIT    PHOTOGRAPHY    BY 
ARTIFICIAL    LIGHT. 

By  L.  L. 

NO  WING  that  a  great  number  of  the 
readers  of  Amateur  Work  are  in- 
terested in  photography,  and  feeling 
sure  also  that  many  are  in  the  same  position  as 
myself,  viz.,  with  only  a  few  brief  moments 
between  daylight  and  dark  that  we  can  call 
our  own,  except  for  a  few  weeks,  perhaps,  in 
the  middle  of  summer,  I  thought  that  a  short 
account  of  how  I  managed  to  solve  the  difficulty 
(to  me)  of  taking  portraits  by  night — the  whole 
of  the  processes,  from  the  taking  of  the  negative 
to  the  mounting  of  the  finished  print  being 
done  by  means  of  artificial  light — would  be 
perhaps  interesting  and  instructive  to  many 
of  our  readers  who,  like  myself,  are  fond  of 
photography,  but  cannot  get  at  it  in  the  day- 
time. I  may  say  that  my  hobby  is  portrait 
taking,  and  though  I  do  not  do  it  altogether  for 
profit,  still  a  few  shillings  come  acceptable  in 
helping  to  defray  expenses. 

To  begin  with :  I  am  fortunately  the  happy 
possessor  of  a  Boss  No.  1  Carte-de-visite  lens. 
My  camera  is  an  ordinary  half -plate  Merveilleux, 
tripod  stand,  and  the  usual  kit  of  an  amateur. 
My  dark  room  is  the  wash-house,  where  the  sink 
comes  in  handy  for  washing  negatives,  etc. 
My  dark  lantern  I  made  myself ;  it  is  of  tin, 
triangular  in  shape,  no  bottom ;  the  back,  on 
which  is  fixed  a  handle  to  lift  it  by,  is  plain  tin, 
with  holes  at  the  bottom  to  admit  air;  one  side 
is  a  sheet  of  plain  glass,  painted  with  two  coats 
VOL.  III.  (n.8.)— o 


PORTRAIT  PHOTOGRAPHY  PI    ARTIFICIAL  LIGHT. 


of  Aspinall's  flamingo  red,  the  other  side 
painted  with  two  coats  of  canary ;  this  makes  a 
capital  ruby  and  yellow  light.  I  have  two 
backgrounds  that  cost  me  about  2s.  6d.  each. 
They  consist,  simply,  of  four  yards  each  of  brown 
and  slate  sateen;  each  piece  was  cut  in  two, 
and  joined  so  as  to  make  a  good-sized  back- 
ground, and  with  a  roller  and  stick  it  answers 
admirably.  The  seam,  if  neatly  made,  does  not 
show  in  the  negative.  These  backgrounds  I  use 
for  vignette  and  f  portraits.  If  full  length 
portraits  were  required,  I  used  the  wall  of  the 
room,  and  the  ordinary  furniture. 

My  first  experiment  was  in  this  manner :  I 
happened  to  see  a  coil  of  magnesium  ribbon  in  a 
chemist's  shop,   on  my  way  home;    a  thought 
flashed    into    my    mind,    why   not    try    it    for 
negative  taking  ?     So  I  bought  it,  and  the  same 
evening  commenced  operations.     I  got  my  wife 
to  consent  to  be  the  subject  of  my  first  experi- 
ments ( "  poor  victim, ' '  says  some  sarcastic  reader) , 
and  having  focussed  carefully  by  the  light  of  a 
good  duplex  lamp,  I  was  ready  to  commence. 
I  made  a  lamp,   or  lamp  stand,  thus  :  — In  a  tin 
candlestick  I  fitted  a  cork,  and  into   the   cork 
thrust  a  piece  of  wire  about  15  inches  long,  and 
bent  about  3   inches  off   the  end  into   a  right 
angle  ;  on  this  I  hung  a  strip  of  magnesium 
ribbon.     I  stood  it  on  a  table  close  to  the  tripod, 
and  when  ready  to  make  the  exposure,  lit  it, 
and  took  off  the  cap  ;  I  took  it  into  the  "  dark 
room  "  (wash-house)  and  commenced,  with  much 
speculation  as  to  the  result,  to  develop  it.     It 
proved  to  have  been  very  correctly  exposed,  and 
the  image  came  up  very  well ;   but  the  smoke 
from  the  ribbon  whilst  burning  had  wafted  in 
front  of  the  lens,  and  caused  the  figure  to  look 
something  like  the  ghost  of  Hamlet's  father,  as 
he  rises  from  the  trap-door  of  a  country  stage. 
I  was  not   to  be   daunted,  however,  and  tried 
again,  taking  good  care  this  time  to  have  the 
light    far    enough    away  from    the    lens.     On 
making  my  second  exposure,  and  developing  the 
plate,  I  had  just  as  bad  luck,  but  in  a  different 
way.     Owing   to  my  placing  the  lamp  on  one 
side,  there  was  a  deep  shadow  on  the  opposite 
side,  and  that  side  of  the  face  was  also  too  much 
shaded.     This  was  very  disheartening.     I  could 
not  spend  any  more  time  on  it  that  evening,  so  I 


deferred  the  affair  till  next  day,  to  put  my 
considering  cap  on.  The  result  of  my  delibera- 
tions was  that  I  decided  to  try  two  lights, 
placing  one  each  side  of  the  sitter,  and  about 
two  feet  in  front.  I  got  my  little  girl  to  light 
one  piece  of  ribbon  as  1  lit  the  other,  and  as  they 
lit  simultaneously  I  removed  the  cap,  replacing 
it  when  I  thought  sufficient  exposure  had  been 
given.  On  developing  this  I  was  pleased  to  find 
the  result  very  good  indeed— a  negative  that 
could  not  be  distinguished  from  one  taken  by  day- 
light, full  of  detail  and  of  good  printing  quality. 
I  may  say  that  I  only  use  one  kind  of  plate — 
Ilford  ordinary.  I  find  that  by  sticking  to  one 
make,  one  gets  accustomed  to  it,  and  can  obtain 
far  better  results  than  by  trying  first  one  make 
and  then  another,  till  the  mind  gets  hopelessly 
muddled  in  the  vain  endeavour  to  understand 
the  peculiarities  of  all  of  them.  The  developer 
I  use  is  the  one  recommended  by  the  maker,  and 
here  I  say,  fix  on  a  developer,  and  use  it  till 
you  understand  its  working,  and  can  regulate  it- 
to  a  nicety. 

I  adopt  a  tentative  method  of  development,  as- 
follows  : — I  pour  into  the  measuring  glass  one 
ounce  of  the  pyro  solution,  and  only  half  an 
ounce  of  the  ammonia  and  bromide  solution, 
and  pour  this  over  the  plate.  If  the  image 
does  not  appear  in  about  half  a  minute, 
I  then  add  more  of  the  ammonia  solution;  but 
if,  on  the  contrary,  it  comes  up  directly,  I  pour 
the  developer  back,  flood  the  plate  with  water, 
and  add  water  to  the  developer ;  by  this  method 
the  development  is  more  under  control.  With 
regard  to  exposure,  I  find  that  with  my  Eoss 
lens,  working  at  F/6,  a  piece  of  ribbon,  four 
inches  long,  in  each  lamp  gives  the  right  ex- 
posure. There  are  lamps  in  the  market  for 
night  photography ;  but  the  good  ones  are 
expensive,  and  I  imagine  that  the  cheaper  forms 
would  not  answer  any  better  than  the  simple 
method  I  have  described.  Now  a  word  of 
caution.  It  is  advisable  to  keep  whatever  lamp 
you  have  in  the  room  still  burning  while  you 
make  the  exposure,  placing  it  in  such  a  position 
that  it  will  not  cast  a  shadow  that  will  show  in 
the  negative,  as  if  the  room  is  in  darkness  when 
you  light  the  magnesium  ribbon,  the  sudden 
glare  is  more  trying  to  the  sitter's  eyes  than  if 


A    WATCH-STAND  FOR    TURNERS. 


19 


a  good  light  was  already  burning.  Caution  your 
sitters  not  to  be  startled  at  the  light,  and  let 
them  fix  their  eyes  on  a  dark  spot,  as  a  dark 
object  causes  the  pupil  of  the  eye  to  dilate. 
Focus  sharply  :  a  good  plan  to  do  this,  is  to  get 
the  sitter  to  hold  a  piece  of  printed  paper  just 
below  the  chin  ;  the  letters  seem  to  me  to  be 
much  plainer  and  easier  to  discern  than  the 
features  of  the  sitter;  and  if  you  can  get  the 
reading  sharp,  the  sitter's  features  will  be 
sharp  also. 

A  few  words  about  printing  processes,  and  I 
have  done.  Of  these  there  are  two  kinds  that 
can  be  used  wholly  by  artificial  light ;  these  are 
alpha  paper  and  bromide  paper.  Each  of  these 
are  sold  in  two  kinds,  rough  and  smooth  surface, 
and  the  bromide  paper  in  two  degrees  of  rapidity; 
the  slow  is  the  best  to  use  for  contact  printing. 
The  alpha  paper  gives  prints  resembling  those 
obtained  on  ordinary  albumenised  silver  paper, 
and  of  various  tones,  from  red  to  black.  I  like 
it  very  well,  but  much  prefer  the  bromide  paper, 
for  its  beautiful  engraving  black  tone  and  pure 
whites.  I  consider  there  is  nothing  to  beat  it 
for  artistic  effect,  unless  it  is  the  platinotype. 
It  requires  about  from  20  to  30  seconds'  exposure 
to  the  light  of  a  Bray's  No.  6  gas-burner,  or  a 
good  lamp.  I  use  a  Hink's  duplex,  with  a 
ground-glass  shade  or  globe,  and  I  find  it 
answers  admirably  ;  so  no  one  need  be  at  a 
loss  to  print,  even  if  they  have  no  gas,  as  the 
lamp  does  equally  as  well.  Directions  for 
working  the  paper  are  given  in  every  packet, 
the  prices  of  which  are  6d.  per  dozen  sheets 
J-plate  size,  and  Is.  2d.  ^-plate  size.  The 
process,  in  brief,  is  as  follows : — The  paper  is 
placed  in  the  printing  frame  as  for  ordinary 
silver  printing,  and  exposed  at  a  distance  of  six 
inches  from  the  lamp,  or  gas.  I  keep  turning  the 
frame  round  so  that  all  parts  of  the  negative  get 
equally  lighted ;  it  is  then  taken  into  the  dark 
room  and  put  away,  and  another  printed  ;  and  so 
on  till  all  that  are  required  are  printed.  All  the 
manipulations  must  be  carried  on  by  the  ruby 
lantern,  as  the  paper  is  as  sensitive  as  the  plates, 
or  nearly  so.  The  paper  is  immersed  for  a 
minute  in  water,  and  then  placed  in  the  de- 
veloper, which  is  the  ferrous  oxalate.  It  is 
advisable    to    develop   only  two  or  three   at  a 


time,  as  the  development  is  rather  rapid.  When 
the  print  is  sufficiently  dense,  it  is  taken  out  of 
the  developer,  and  placed,  without  washing,  in 
a  clearing  solution  of  alum  and  citric  acid ;  after 
remaining  a  few  minutes  in  this,  they  are 
washed,  and  then  transferred  to  the  hypo  fixing 
bath  for  five  minutes,  and  then  washed  in  the 
usual  way :  no  toning  required.  The  prints 
must  be  allowed  to  dry  by  themselves,  and  not 
be  blotted,  as  the  emulsion  is  rather  sticky.  The 
prints  when  dry  are  mounted  in  the  usual  way. 
Morgan  and  Kidd's,  Fry's,  and  the  Eastman 
bromide  papers  are  treated  in  much  the  same 
way. 

In  conclusion,  let  me  say  that  although  in 
this  short  account  of  an  amateur's  failures  and 
successes  there  is  nothing  particularly  new,  yet 
I  trust  it  may  be  of  some  service  to  our  readers 
who  may  not  be  aware  of  the  fact  that  they 
can  practise  their  favourite  hobby  by  night ;  and, 
also,  to  hope  that  others  will  give  us  the  result 
of  their  experiments  in  this  direction. 


A  WATCH-STAND  FOR  TURNERS. 

By  ED.  C.  ROE,  Jun., 
Silver  Medalist  of  the  City  and  Guilds  of  London  Institute. 


SHORT  time  back,  it  was  my  privilege 
to  place  before  the  fretworking  mem- 
bers of  the  amateur  fraternity  a 
watch-stand  for  their  especial  benefit ;  and  now, 
in  designing  a  stand  especially  for  construction 
by  lovers  of  turning,  it  is  hoped  that  the  said 
design  will  prove  useful  and  worthy  of  repro- 
duction. It  is  a  notorious  fact  that  an  article 
made  of  turned  work  completely  is  apt  to  appear 
monotonous,  and  therefore  I  have  ventured  to 
make  the  base  of  the  stand  square ;  but,  of 
course,  a  turned  base  may  be  used  if  desired, 
without  detriment  to  the  general  effect.  For 
the  benefit  of  those  who  are  adepts  in  the  art 
of  fretworking,  suggestions  are  given  for  filling 
in  the  lower  apertures,  and  also  the  back  sup- 
port. At  any  rate,  there  they  are ;  and  whether 
they  are  omitted  or  included,  it  will  make  but 
very  little  difference  to  the  practical  utility  of 
the  article. 

Our  first  job  had  better  be  to  turn  the  sunk 


-20 


A    WATCH-STAND  FOR   TURNERS. 


disc  which  forms  the  receptacle  for  watch.  This 
.is  preferably  turned   on  a  taper  screw  chuck. 

The  button  at  back  will  cover  hole  on  the  out- 
:^ide,  and  the  velvet  or  plush,  with  which  we 
=shall  have  to  line  it,  will  perform  the  same  duty 

inside.     For  the  support  under  this  we  shall 

require  to  turn  a  ring  to  section  given,  and 

afterwards   cut  out   sufficient   for   our  job. 

The  base,  if  made  square,  will  require  to  be 

worked  with  either  a  plane  or  router ;  work 

the  ends  first,  and  then 

the  sides.  It  will  now 

•be  as  well  to  fit  the 

supporting      segment 

to  the  base  first.    One 
dowel  in  each  end  will 

be    sufficient,    say   \ 


The  back  support  is,  if  turned,  made  up  of 
three  segments  of  circles  do  welled  together;  but 
it  would  be  preferable  if  it  can  be  cut  out,  as  a 
whole,  by  a  fret-saw.  It  can  be  fixed  from  the 
front  of  watch-holder,  and  from  underside  of 
base.  The  front  must  be  carefully  cut,  as 
shown  in  side  section. 

The  top,  or  cresting,  will  need  very  little 
explanation.  The  upper  part  is  tapered  off 
to  take  the  top  knob.  The 
turned  drops  at  the 
side  should  be  affixed 
with  dowels.  Of  what 
material  to  make  the 
stand,  is  an  open 
question.  Such  small 
articles   look   exceed- 


square, 


,© 


Fret  at  B 


•of  an  inch  thick.  Do  not  glue  on  yet,  but  let 
it  fit  tightly.  Now  the  watch-holder  requires 
scribing  down  on  to  the  top  of  supporting 
segment,  at  an  angle,  as  shown  by  side  section. 
This  is  rather  a  particular  job,  and  requires  to 
be  neatly  done  ;  so  let  patience  abound,  in  con- 
junction with  keen  tools.  The  method  of  fixing 
is  by  driving  a  fine  screw  from  under  side  of 
support. 


ingly  well  executed  in  olive  wood ;  holly  would 
look  nice,  mounted  with  ebony  or  other  dark 
wood  knobs,  despite  a  rather  funereal  aspect. 
The  four  feet  do  not  call  for  any  explanation. 
A  design  is  not  submitted  for  the  watch-hook, 
for  so  many  different  patterns  are  now  purposely 
made  and  sold,  that  the  home  manufacture  of 
such  small  metal  work  is  almost  out  of  the 
question ;  therefore,  search  a  dealer's  list,  and 


HO  IF  TO    USE  ENAMEL  PAINT. 


21'i 


make  a  suitable  selection.  Note  that  the  front 
elevation  is  drawn  as  though  the  watch-holder 
and  cresting  were  vertical.  This  has  been  done 
for  the  sake   of  clearness   and   space,    and  is 


Velvet 


SECTIONAL  END  ELEVATION. 

therefore  not  a  true  elevation,  as  taken  from 
the  side  sectional  elevation. 

The  bottom  fret  must  be  fixed  well  back 
from  the  face  ;  if  the  frets  are  cut  out  of  J-inch 
stuff,  keep  flush  at  back.  The  fret  in  back 
support  should  be  fixed  in  the  middle.  It  will 
be  observed  that  the  front  of  back  support 
penetrates  the  fret. 

The  sinkings  in  the  side  pendants  should  be 
cut  out  previous  to  turning,  and  may  be  either 


left  plain,  matted,  or  a  small  ornament  cut  in, 
as  suggested. 

To  complete  the  job,  it  requires  polishing, 
and  then  the  watch-holder  filled  in  with  a  piece 
of  velvet,  for  the  watch  to  rest  against.  Place 
the  watch  in  position,  and  then  ask  the  question 
whether  my  hopes  that  the  result  would  amply 
repay  the  labour  expended  have  been  fulfilled.. 


HOW  TO  USE  ENAMEL  PAINT. 

By  A    CORRESPONDENT. 


WING  to  the  fact  that   enamels  arfc- 
really   varnish-paints,   that    is,    that^ 
they  combine  the  properties  of  varnish 
and  of   paint,    the  covering  power,   or   opaque- 
density,  of  enamel  is  not  great.     Some  makers- 
try  to  overcome   this   drawback,  which   is  in- 
separable from  the  nature  of  the  case,  by  making 
the  enamel  thick ;  this  is,  of  course,  an  advan- 
tage as   far  as  the  increase  of   density  is  con- 
cerned, but  renders  the  laying  of  the  materia]!- 
more  difficult.    The  "  weeping"  effect  of  much 
of  the  enamel  put  on  by  amateurs  has  become 
proverbial,  and  if  another  coat  is  applied,  thet 
effect  is   not  improved,   for   the   thick   enamel 
demands  a   considerable  quantity  to  cover  the 
surface,  and  it  begins  to  flow,   downwards,  of 
course,  before  it  is  quite  set. 

To  obviate  this  fault  ought  to  be  the  object  of" 
every  user  of  this  fashionable  material;  and 
though  another  plan  has  been  suggested  in 
Amateur  Work,  I  feel  sure  that  anyone  who 
tries  the  cheap  and  simple  plan  about  to  be- 
described,  will  be  pleased  with  the  result. 

I  shall  suppose  the  article  to  be  enamelled  is- 
a  new  one.     Obtain  some  size  and  some  best,  osr 
gilder's,  whiting.     The  size  must  be  good,  and. 
the  whiting  dry ;  many  shops  sell  the  whiting, 
damp ;  it  will,  however,  soon  dry  if  bought  a 
little  while  before  it  is  required.     The  size  can 
be  melted  in  a  jar  or  saucepan  ;  it  is  not  to  b&- 
exposed  to  fierce  heat,  but  may  be  placed  at  a.. 
corner  of  the  stove,  and  not  on  the  fire.     As  a 
further  security  against  burning,  a  little  water- 
may  be  put  in   the   vessel  before   melting  the 
size,  and  care  must  be  taken  not  to  leave  the? 


22 


ASBESTOS   BLOW-PIPE. 


s'ze  to  form  a  pellicle  or  skin  upon  the  surface 
through  too  long  a  continuance  of  exposure  to 
heat.  If  any  skin  or  scum  forms,  it  is  to  be 
removed  and  thrown  away,  or  the  size  can  be 
strained  for  the  same  purpose. 

The  whiting  is  to  be  pounded  up  finely,  which 
is  a  very  easy  matter  if  it  is  dry,  and  scattered 
gradually  into  the  melted  size.  When  enough 
is  mixed  to  give  the  size  a  little  body,  the  colour 
is  to  be  matched  as  nearly  as  possible  to  the 
finishing  colour,  using  fine  powder  colours,  or 
in  the  case  of  those  powder  colours,  such  as 
umber,  ochre,  etc.,  which  are  not  fine,  ground 
in  water.  We  must  remember  that  size  colours 
dry  lighter,  though  the  reverse  is  the  case  with 
oil  paints.  Coat  the  article  quickly,  using  the 
size  colour  lukewarm,  and  applying  the  colour 
in  a  warm  room.  When  dry,  it  may  be  care- 
fully and  lightly  rubbed  with  fine  glass-paper, 
No.  1  for  choice,  and,  if  needful,  another  coat 
of  size  given ;  but  if  two  coats  are  put  on,  let 
both  be  thin.  Do  not  rub  the  sharp  edges  with 
the  glass-paper,  because  that  would  lay  bare  the 
wood,  and,  if  needed,  should  have  been  done 
before  the  size  colour  was  applied.  In  fact, 
any  article  intended  for  painting  should  always 
have  the  extreme  sharpness  of  the  arrisses 
removed  by  the  wood-worker. 

The  pigments  suitable  for  tinting  the  colour 
are  the  ochres  (ground),  the  siennas  and  umbers, 
raw  and  burnt,  also  ground ;  Venetian  and 
Indian  red,  Brunswick  greens  of  all  the  shades 
sold,  Prussian  blue,  ultramarine  (so-called), 
celestial  blue,  the  various  shades  of  purple 
brown,  ivory  black,  Dutch  pink,  and  some 
others. 

On  this  foundation  lay  the  enamel  sparingly, 
and  be  sure  it  is  not  too  thick,  for  it  is  quite 
impossible  to  lay  on  any  liquid  coating  well  and 
smoothly  with  a  brush  if  it  is  thick  ;  for  thick 
covering,  a  trowel  would  be  the  appropriate  tool, 
and  it  is  quicker  and  in  every  way  better  to  put 
on  two  thin  coats  than  one  coat  which  is  intended 
to  cover  the  grain  of  the  wood  and  to  retain  a 
high  gloss  and  a  hard  level  surface. 

These  three  good  qualities  are  not  to  be 
obtained  by  one  coat  of  even  the  most  opaque, 
glossy,  and  hard  drying  colour  yet  manu- 
factured. 


For  articles  not  new  mix  up  some  white  lead 
paint,  using  turps  chiefly,  and  but  little  linseed 
oil,  matching  the  intended  colour  carefully  ;  or 
size  colour,  as  above,  may  be  used,  diluted  with 
a  little  water.  Strong  size  is  not  to  be  used  over 
any  paint,  or  it  will  cause  the  paint  below  it  to 
crack  and  peel  off. 

In  case  of  a  second  coat  of  enamel  being 
required,  "let  patience  have  her  perfect  work," 
being  quite  sure  that  it  is  dry  and  hard  before 
the  application  of  another  coat. 

These  hints,  which  are  founded  on  experience, 
are  offered  to  our  readers  in  order  that  they  may 
be  more  successful  in  the  management  of  these 
materials,  which  are  said  to  beautify  everything, 
but  which  without  some  care  and  skill  they 
certainly  fail  to  do. 


ASBESTOS     BLOW-PIPE. 

By     L.     S.     D. 

HERE  are  possibly  few  who  devote  their 
leisure  hours  to  amateur  pursuits,  that 
have  not  at  times  experienced  the 
use  of  a  blow-pipe  ;  not  alone  in  the  repair  of 
the  numerous  articles  of  household  use,  in  brass 
and  tin  ware,  but  in  the  making  and  repair- 
ing of  jewellery,  chemical  experiments,  model 
making,    etc.,    etc. 

To  those  who  live  in  towns  where  gas  is  avail- 
able as  a  heating  power,  with  or  without  a  blast 
apparatus,  the  little  blow-pipe  I  am  about  to 
describe  will  not  be  of  much  service ;  but  to 
others,  who,  like  myself,  live  in  out  of  the  way 
places  in  the  world,  and  who  have  to  content 
themselves  with  the  modest  flame  of  a  spirit  or 
oil  lamp,  the  case  is  different ;  and  though 
there  are  numerous  inventions,  more  or  less 
expensive,  which,  to  a  certain  extent,  meet  their 
requirements,  they  all,  to  my  experience,  have 
their  defects  ;  some,  the  self-acting  spirit  lamps, 
are,  to  the  inexperienced,  dangerous,  while  the 
chief  defect  in  all  that  I  have  tried,  is,  that  you 
cannot  get  the  jet  of  flame  (as  in  the  gas-blowers 
with  flexible  tubes)  in  the  exact  spot  you  want 
it  without  a  considerable  amount  of  twisting 
and  turning,  not  always  successful,  and  which 
generally  results  in  burnt  fingers,  or  a  bad  job. 


ASBESTOS   BLOWPIPE. 


23 


The  advantage  of  the  asbestos  blower  is  that 
it  carries  its  lamp  with  it  wherever  it  goes,  and 
having  a  flexible  tube,  the  jet  can  be  directed 
into  all  out  of  the  way  corners,  which  is  im- 
possible with  any  others  that  I  have  tried. 

Possibly  the  self-acting  blow-pipes  mentioned 
in  Melhuish's  list  might  be  an  exception,  but  I 
have  not  tried  them.  However,  my  little  blower, 
which  I  have  christened,  "  The  Asbestos  Blow- 
pipe," must  take  its  chance  with  these ;  and  I 
feel  certain,  to  those  who  will  give  it  a  trial,  it 
will  hold  its  own,  and  equal,  if  not  excel,  any 
other  of  a  similar  cost  now  in  the  market. 

I  cannot  claim  it,  I  regret  to  say,  as  an  inven- 
tion of  my  own,  otherwise  I  have  found  it  so 
useful  I  should  have  been  disposed  to  patent  it. 
Some  years  ago,  when  travelling  on  the  Con- 
tinent, I  noticed  a  working  jeweller  using  it, 
and  the  facility  with  which  he  melted  some  of 
the  harder  metals,  such  as  brass  and  silver,  in  a 
few  seconds,  attracted  my  attention ;  and  after 
a  little  palaver,  I  induced  him,  for  a  trifling 
consideration,  to  part  with  it,  and  I  have  never 
regretted  my  purchase.  On  arriving  at  home  I 
took  it  to  pieces,  and  examined  its  mechanism, 
and  subsequently  fitted  it  up  with  appropriate 
table  and  bellows,  improving  on  the  primi- 
tive arrangement  I  had  seen  on  its  first  intro- 
duction to  me,  which  was  that  I  have  shown  in 
Fig.  4. 

The  sketches  are  almost  sufficient  to  describe 
it ;  but  a  few  remarks  may  not  be  out  of  place. 
Those  amateurs  who  do  not  understand,  or  have 
not  the  appliances  for  metal  spinning,  will  have 
to  call  in  the  aid  of  a  coppersmith  or  skilled 
mechanic  to  make  the  bowl  or  cup.  It  is  made 
of  thin  sheet  copper,  shaped  as  in  Fig.  1.  It 
may  be  made  any  convenient  size,  according  to 
requirements.  If  for  constant  use,  it  should  be 
a  trifle  larger  than  sketch,  which  is  drawn  to 
the  size  of  the  one  I  have  in  use.  I  may  state 
that  the  larger  and  deeper  the  cup,  the  longer  it 
will  burn  without  a  fresh  supply  of  spirit ;  mine, 
when  properly  filled  with  good  proof  spirit, 
burns  from  five  to  seven  minutes. 

A  common  mouth  blow-pipe  is  passed  through 
the  cup,  and  firmly  and  securely  brazed  at  b. 
For  convenience  in  subsequent  operations,  it  is 
better  to  have  the  cup  made  in  two  pieces,  with 


an  open  cap  (as  shown  in  Fig.  3)  to  fit  tightly 
on  to  it.  The  end  of  the  pipe  (Fig.  2)  should 
terminate  in  a  bulb  for  attaching  the  india- 
rubber  tube  to,  and  as  more  convenient  for  the 
mouth,  when  used  without  blast  apparatus. 
The  further  requirements  are  some  asbestos  and 
a  small  piece  of  very  fine  brass  wire  gauze.  The 
asbestos  I  use  is  that  used  by  machinists  for 
stuffing  ;  it  must  be  shredded,  and  closely 
packed  in  the  lower  part  of  the  cup,  as  shown 
at  d  ;  some  little  experience  is  required  in  this, 
for  if  too  tight  it  will  not  absorb  the  spirit, 
while,  on  the  other  hand,  if  too  loose,  it  will  not 
absorb  sufficient. 

The  nozzle  of  the  pipe  should  project  about 
J  inch  above  the  stuffing,  a  small  piece  of 
brass  gauze,  cut  circular  to  fit  over  the  asbestos 
(o,  Fig.  1),  with  a  hole  in  the  centre  for  the 
pipe,  must  now  be  put  on,  and  the  blow-pipe  is 
complete  with  its  lamp  attached.  When  required 
for  use,  pour  some  proof  spirit  into  the  cup, 
taking  care  that  none  goes  down  the  pipe  ;  if 
properly  packed,  it  should  absorb  from  one  to 
two  teaspoonsful.  After  waiting  a  short  time  for 
the  spirit  to  run  down  into  the  asbestos,  return 
the  superfluous  spirit  flowing  over  the  gauze 
back  into  your  bottle ;  it  is  sometimes  advisable 
to  leave  a  slight  overflow,  as  it  assists  the 
absorbed  spirit  to  ignite.  Now  slightly  warm 
the  bowl  over  a  candle,  match,  or  spirit  lamp.  I 
always  use  the  latter,  keeping  it  alight  while  I 
have  the  blow-pipe  in  use.  By  slightly  inclining 
the  mouth  of  the  cup  over  the  flame  of  the  lamp, 
the  spirit  in  the  cup  will  soon  ignite ;  this  may 
be  assisted,  if  it  does  not  light  readily,  by  a  slight 
blast.  When  thoroughly  alight,  a  small  blue 
flame  appears  at  the  top,  and,  on  applying  the 
blast,  a  thin  powerful  jet  of  flame  is  thrown  out, 
which,  as  I  before  stated,  should  last  in  the 
smaller  bowls  for  five  or  seven  minutes,  accord- 
ing to  the  force  of  the  blasts,  long  enough  to 
complete  any  small  job  in  soldering  and  brazing. 
The  pipe  can  be  put  down  while  refixing  or 
changing  the  work,  and  on  renewing  the  blast, 
provided  too  long  a  time  does  not  elapse,  it  will 
still  be  found  to  be  alight ;  it  should,  however, 
be  placed  in  such  a  position  that  the  spirit  will 
not  run  out.  When  the  lamp  goes  out,  fresh 
spirit  must  be  added,  then  proceed  as  before, 


24 


ASBESTOS   BLOW-PIPE. 


taking  care  that  the  light  has  gone  out  before 
supplying  it,  otherwise  an  accident  might  occur 
by  the  explosion  of  the  spirit  in  the  replenishing 
bottle.  If  it  does  not  work  properly  under  these 
conditions,  it  must  be  owing  to  the  spirit  being 
too  weak,  or  to  improper  absorption,  in  which 
latter  case  the  asbestos  must  be  taken  out, 
reshredded,  and  repacked. 


Nevertheless,  it  answers  its  purpose  very  well,. 
and  has  this  advantage,  that  it  costs  only  a  trifle : 
two  or  three  feet  of  india-rubber  tubing,  about 
an  inch  or  two  of  brass  tubing,  an  india-rubber 
wind-bag,  or  regulator,  and  a  small  pair  of 
bellows — which  any  amateur,  if  he  turns  his 
hand  to,  could  make  himself ;  or  failing  this,  the 
kitchen   bellows   might,  on  an   emergency,  be- 


.  T.  —  BI.OW-P1PE  :  A,  CAP  FITTING  ON  ATo;  B,  JOINT  WHERE  PIPE  IS  SOLDERED  TO  CAP  ;  C,  GAUZE  WIRE  APRON  ; 
D,  ASBESTOS  STUFFING  ;  E,  PIPE,  8  INCHES  LONG,  WITH  MOUTH-PIF.CE  ATTACHED  AS  SHOWN  IN  FIG.  2.  FIG.  3. — BOWL 
AND  CAP.  FIG.  4.— APPARATUS  COMPLETE  ;  G,  INDIA-RUBBER  WIND-BAG  ;  H,  STAPLE  ATTACHING  BELLOWS  TO  TABLE  * 
I,  SPRING  ON  BELLOWS  ;  K,  WIRE  STIRRUP  FOR  WORKING  BELLOWS.  FIG.  5. — BELLOWS  SHOWING  MODE  OF  ATTACHING 
SPRING  I. 


The  table  and  fittings  require  little  explana- 
tion. It  is  needless  to  state  that  a  blast  apparatus 
of  some  description  renders  the  blow-pipe  much 
more  efficient  than  when  used  with  nature's  blast, 
the  lungs  ;  and  there  are  many  appliances  of  the 
kind  more  suitable  than  the  one  I  have  given. 


called  in  to  do  duty.  The  bellows  should  have 
a  steel  spring  (a  piece  of  stout  clock  spring 
would  do),  attached  by  a  screw  near  the  nozzle, 
working  in  a  staple  near  the  centre  of  upper 
flap ;  this  is  best  understood  by  referring  to- 
Fig.  5.     The  spring  must  be  curved  in  such  a. 


HOW  TO  MAKE-UP  FOR    THE   STAGE. 


25 


■way  that  it  has  the  effect  of  drawing  the  flap 
upwards  -when  the  pressure  of  the  foot  on  the 
■wire  stirrup,  k,  is  relieved.  The  -wind-bag  or 
regulator,  which  should  be  about  the  size  of  the 
palm  of  your  hand,  and  tubing,  can  be  procured 
for  a  trifle  from  any  chemical  instrument  maker ; 
the  brass  tubing  is  used  for  attaching  the  tubing 
at  b,  to  wind-bag.  The  rest  needs  no  further 
explanation ;  but  I  shall  be  pleased  to  furnish 
any  amateur,  who  desires  to  try  his  hand  at  it, 
with  any  information  he  may  require.  Possibly, 
to  some  of  your  readers,  it  may  be  no  novelty, 
though  I  have  seen  no  mention  of  it  in 
Amateuk  Wokk. 


HOW    TO    MAKE-UP    FOR 
THE    STAGE. 

By  PROFESSOR  LIONEL  ARTHUR. 


VI. — Female  Make-up— Youthful  Characters— Cos- 
tume Characters — Elderly  Ladies— Character 
and  Low  Comedy  Parts — General  Remarks  on 
Making-up  for  Ladies— Dodges,  Secret  Recipes, 
&c,  &c. 

jjgs^HE  make-up  for  female  characters  runs 
much  upon  the  same  lines  as  that  for 
male  parts.     In  ordinary  characters — 


at  least  all  those  where  youth  and  beauty  are 
conspicuous — actresses,  both  amateur  and  pro- 
fessional, know  well  enough  how  to  improve 
their  appearance,  whether  their  looks  be  good, 
bad,  or  indifferent.  To  such  adepts  in  the  art 
I  can  teach  but  little ;  and  as  most  ladies  are 
pretty  good  judges  in  this  direction,  they  may 
safely  be  allowed  to  rely  on  their  own  taste 
and  discretion  when  a  successful  make-up  is  the 
question.  But  when  an  actress  is  called  upon 
to  play  an  elderly  part — characters  which  the 
majority  despise  and  hate,  although  so  much 
artistic  success  can  be  gained  in  them — and  to 
transform  her  fair  young  face  into  an  old  and 
ugly  one,  then  the  novice  requires  certain  in- 
structions, so  that  she  may  achieve  success  in 
the  make-up  of  the  character. 

These  are,  however,  not  the  only  characters 
which  require  a  good  deal  of  making-up ;  for 
there  are  also  low  comedy  and  "character" 
parts,  which  require  just  as  much  care  bestowed 


upon  them.  There  is  a  practice  followed  in  this 
country — as  I  have  already  pointed  out — of 
allowing  boys  and  youths,  with  suitable  voices 
and  looks,  to  play  female  characters.  This  is 
especially  the  case  at  schools  and  colleges  ;  and 
although  it  is  a  proceeding  I  entirely  disagree 
with,  the  fact  remains  that  it  is  done  very  ex- 
tensively ;  and  for  this  reason  I  must  therefore 
just  give  a  few  hints  for  making-up  the  young 
and  beautiful  girl,  as  well,  also,  as  the  old  hag, 
the  gipsy,  and  the  market-woman. 

Young  Women. — I  do  not  think  it  advisable  to 
use  grease  paints  generally  for  this  class  of 
character,  because  the  desired  effect  can  be 
more  easily  arrived  at  by  using  rouge  and 
powder,  &c.  Wash  and  dry  the  skin  thoroughly, 
and  well  powder  the  face  and  neck  with  Clark- 
son's  Lillie  Powder,  which  is  one  of  the  best 
powders  put  up,  and  is  used  by  all  the  leading; 
actresses.  It  is  sold  by  W.  Clarkson,  Wig 
Maker,  Wellington  Street,  Strand,  W.C.  Failing 
this,  the  best  pearl  powder  should  be  used. 
With  a  nice  soft  hare's-foot  apply  a  little  car- 
mine powder  high  up  on  the  cheek-bones,  and 
carefully  blend  off.  Apply  some  also  under  the 
eyes,  which  will  brighten  them  up  considerably. 
A  faint  tinge  may  also  be  applied  under  the 
eyebrows  (not  on  the  eyelids)  and  on  the  chin. 
We  now  take  the  fine  camel-hair  lining  brush, 
and  the  burnt  umber  water  colour,  and  draw 
thin  lines  immediately  below  the  bottom  eye- 
lashes, and  immediately  above  the  upper  ones. 
The  eyebrows  are  next  touched  up  with  the 
special  eyebrow  pencils,  or  the  ordinary  grease 
paints,  black  or  brown.  To  the  lips  apply  a 
thin  coating  of  Grenadine,  which  gives  them  a. 
bewitching  and  fresh  colour.  The  teeth  should 
be  kqpt  pearly  white.  These  are  shown  off  to 
greater  advantage  if  the  gums  are  of  a  ruby 
redness ;  I  generally  find  that  the  use  of  quinine 
in  the  tooth-powder  will  accomplish  this  object. 
The  eyelashes  may  be  painted  with  a  dark  water 
colour,  in  some  cases ;  this  is  best  done  by 
another  hand.  The  whole  of  the  make-up  is 
toned  down  by  a  final  slight  powdering  ;  and  if 
these  instructions  are  implicitly  followed  out,  it 
is  quite  possible  to  turn  an  ordinary  or  plain 
face  into  an  exceedingly  pretty  one — on  the 
stage.      The  countenance  may  be  considerably 


26 


HOW  TO  MAKE-UP  FOR   THE  STAGE. 


altered  by  changing  the  shape  of  the  mouth  and 
the  nostrils,  etc.,  etc. 

Elderly  Ladies  for  Costume  Plays. — In  the  old 
comedies,  "powder"  or  "costume  plays,"  the 
elderly  lady  is  always  very  much  in  evidence, 
and  I  now  give  the  make-up  for  such  parts. 
Proceed  exactly  as  in  the  foregoing  instructions. 
When  the  make-up  is  so  far  completed,  put  in, 
with  the  brown  lining  pencil,  a  few  furrow  lines 
on  the  forehead,  two  or  three  broadish  ones 
running  from  the  inner  corners  of  the  eyes 
towards  the  cheek-bones,  one  or  two  thinnish 
ones  under  the  eyes,  one  each  side  of  the  nose, 
leading  down  on  a  level  with  the  mouth,  and  a 
few  wrinkles  round  the  throat.  Next  shade, 
with  the  brown  lining  pencil,  the  hollows  at  each 
corner  of  the  mouth,  the  hollow  under  the  nose, 
in  centre  of  the  upper  lip,  and  the  hollow 
beneath  the  lower  lip.  Make  the  eyebrows 
grey  with  silver  powder,  and  place  one  or  two 
"beauty  spots"  about  the  face  according  to 
taste.  A  court  wig  is  worn  in  these  characters, 
and  should  be  carefully  adjusted.  The  hands 
and  arms  in  all  female  characters  must  receive 
careful  attention. 

Character  and  Low  Comedy  Parts. — For  such 
parts  as  these  the  make-up  requires  to  be  of  a 
more  elaborate  and  bolder  nature.  This  amount 
of  boldness  depends  entirely  upon  the  size  of 
the  stage  and  theatre  or  hall.  If  the  actress  is 
about  to  perform  in  a  large  theatre,  then  the 
make-up  must  be  somewhat  harsh  and  bold, 
requiring  very  little  toning  down  or  softening 
off;  but  if  the  stage  or  hall  is  a  small  one, 
where  the  actors  are  extremely  near  to  the 
audience,  then  the  work  must  not  be  overdone. 
Commence  by  preparing  the  skin  to  receive  the 
make-up  in  the  same  way  as  that  given  for 
male  characters.  The  way  to  make  up  such  a 
character  as  Mrs.  Bouncer  in  "  Box  and  Cox  "  — 
a  specimen  of  the  elderly  landlady  class — is  as 
follows  : — Give  the  face  a  thin  coating  of  Fox's 
No.  2|  medium  flesh  colour  grease  paint.  Apply 
to  the  cheek-bones,  the  chin,  and  under  the 
eyebrows,  a  fair  amount  of  carmine.  Line  with 
■umber  the  line  beneath  the  lower  eyelashes, 
and  introduce  all  the  lines  about  the  eyes,  nose, 
mouth,  and  forehead,  as  described  in  the  last 
chapter  ;  the  only  difference  being  that  in  this 


case  a  little  exaggeration  is  allowable,  especially 
in  a  large  theatre.  A  special  wig  is  worn,  or 
perhaps  what  is  technically  termed  a  "front." 
These  are  only  used,  however,  when  a  cap  is 
worn  to  cover  the  rest  of  the  head.  They  may 
be  purchased  from  Fox  or  Clarkson,  and  cost 
from  5s.  to  7s.  each,  or  may  be  hired  on  reason- 
able terms.  A  pair  of  good  full  dark  eyebrows 
should  be  put  on  in  these  characters,  and  one 
or  two  teeth  may  be  stopped  out  with  email  noir. 
For  very  aged  parts,  such  as  that  of  an  old 
witch  or  hag,  more  work  has  necessarily  to  be  in- 
troduced upon  the  face.  The  furrows  on  the 
forehead,  and  wrinkles  about  the  face,  must  be 
bolder  and  more  frequent,  and  these  should  be 
put  in  upon  a  groundwork  of  pale  flesh  colour 
and  chrome  yellow ;  and  we  see  next  to  no 
colour  in  a  face  of  this  description.  A  pair 
of  rough  bushy,  but  rather  sparse,  white  eye- 
brows must  be  put  on,  and  a  long-haired  white 
wig  worn.  The  hair  upon  the-  wig  must  be 
in  a  very  unkempt  condition,  which  helps  to 
give  a  dissipated  appearance  to  the  character. 
Nearly  the  whole  of  the  teeth  must  be  stopped 
out,  which  adds  greatly  to  the  effect  of  a 
character  of  this  class.  The  hands  and  arms 
must  also  be  attended  to  in  witch  characters. 
Bub  the  back  of  the  hands  with  chrome  yellow, 
and  then  give  them  a  dusting  with  fuller's 
earth  ;  then  rub  some  brown  lining  colour  in 
between  the  knuckles,  and  put  in  a  few  lines 
on  the  knuckles  and  finger-joints.  This  will 
give  them  a  shrivelled  and  bony  appearance. 
Put  in  the  veins  on  arms  and  hands  with  the 
veining  pencil,  and  the  make-up  is  about 
complete. 

General  Remarks  on  Ladies'  Mahe-up. — I  have 
given  above  a  few  hints  to  the  ladies — or  those 
who  play  ladies'  characters — as  far  as  regards 
costume  and  character  parts.  There  are,  how- 
ever, a  good  many  amateur  actresses  who 
regard  making-up  as  unworthy  of  any  great 
consideration  on  their  part — in  fact,  think  it 
quite  a  matter  of  secondary  importance.  Nature 
has,  no  doubt,  endowed  these  charming  creatures 
with  an  abundance  of  good  looks  and  regular 
-features ;  therefore,  they  say  to  themselves  that 
any  artificial  adornment  is  unnecessary  in  any 
shape  or  form.     Now,  this  is  quite  a  fallacious 


HOW  TO  MAKE-UP  FOR    THE   STAGE 


27 


idea,  and  one  which  I  have  seen  demonstrated 
upon  the  amateur  stage  many  times.  Those 
who  follow  out  the  dictates  of  their  clever  ideas 
in  this  direction,  appear  precisely  the  same  on 
the  stage  as  they  do  off ;  but  with  this  exception, 
the  face  has  lost  its  colour,  the  eyes  their 
sparkle  and  brightness,  and  there  are  heavy 
shadows  about  the  eyes,  nose,  and  mouth. 
Ladies  of  this  class  can  hardly  be  called 
actresses,  for  they  must  know  but  very  little  of 
the  profession  and  the  requirements  of  the  actor's 
art,  or  they  would  know  that,  absolutely,  the 
human  countenance  requires,  when  before  the 
artificial  glare  of  the  footlights,  a  certain  amount 
of  making-up,  no  matter  how  perfect  it  may  be 
in  the  pure  light  of  day.  The  fact,  seeming^ 
so  strange  until  quite  grasped,  has  to  be  ever  in 
mind,  that  a  particular  colour  seen  over  the  foot- 
lights does  not  present  its  natural  tints  as  in  the 
daytime.  There  is  nothing  really  strange  about 
this.  It  is  only  a  more  vivid  example  of  the 
optical  illusion  of  all  artificial  light,  unless  it  is 
possessed  of  as  much — or  more — of  the  blue 
rays  of  daylight,  such  as  the  electric  arc  light. 
Therefore,  it  is  this  effect  of  artificial  light  that 
must  guide  artistes  in  their  selection  of  colours 
ior  making-up  ;  and  this  same  law  compels  them, 
when  they  have  selected  the  right  colours,  to  use 
them  several  shades  darker  than  would  be 
necessary  in  the  daylight.  The  above  is  quite 
sufficient  to  show  that  making-up,  instead  of 
being  ignored,  should  form  a  particular  study 
ior  all  artistes,  although  its  capabilities,  while 
being  exercised  to  the  uttermost,  should  never 
be  outraged  in  the  slightest  degree.  In  the  art 
of  acting,  one  of  the  first  principles  is  to  be  able 
to  successfully  counterfeit  the  original ;  and  to 
go  beyond  counterfeiting,  is  to  go  beyond  the 
art  of  acting.  "Within  certain  limits,  an  artiste 
is  perfectly  justified  in  going  outside  the  beaten 
track  ;  but  as  all  arts  have  fixed  and  peremptory 
rules  for  the  guidance  of  their  followers,  so  it  is 
incumbent  upon  those  followers  to  work  well 
■within  the  guiding  lines  provided  for  them. 
And  as  making-up  is  a  part  and  parcel  of  his- 
trionic art,  so  is  it  regulated  by  the  first 
principles  of  that  art ;  besides  being  of  itself  the 
main  example  of  that  counterfeiting  which  has 
just  been  said  to  be  one  of  the  first  principles  of 


the  actor's  art.  Headers  will  now  see  the  use  and 
importance  of  making-up,  and  also  the  necessity 
for  actors  and  actresses  in  making  the  matter  a 
complete  study  by  itself.  And  now  for  a  few 
practical  hints  and  secrets  anent  female  make-up. 
Ladies,  who  are  not  artists,  are  advised  that  the 
laws  which  govern  the  arts  of  figure  drawing 
and  painting  should  first  be  carefully  mastered  ; 
following  this  up  by  studying  the  peculiar  effects 
which  the  concentrated  glare  of  the  footlights 
has  upon  the  work — a  matter  which  must  be 
well  understood.  The  different  colours  of  this 
light  present  difficulties  such  as  cannot  be 
ignorantly  vanquished,  nor  even  easily  under- 
stood, by  the  unstudied  ;  but  with  a  bare  rudi- 
mentary knowledge  of  painting  and  anatomy, 
and  the  ability  to  appty  it  properly  to  otir  work, 
these  difficulties  will  soon  disappear.  In 
making-up  the  face,  it  is  primarily  necessary  to 
obtain  the  required  general  tint ;  and  this,  in 
nature,  is  never,  either  in  man  or  woman,  a  pure 
white.  The  general  tint  of  the  finest  natuial 
complexion  is  rather  yellow  than  white  ;  and  for 
this  reason  yellow  should  form  one  of  the  colours 
for  female  make-up  for  the  stage.  By  this 
yellow  I  do  not  mean  that  such  a  quantity 
should  be  employed  as  to  give  the  face  a  "jaun- 
diced "  appearance,  but  merely  just  enough  to 
prevent  it  looking  pure  white  and  pink.  In 
juvenile  parts,  actresses  are  advised  to  use  a 
mixture  of  chrome  yellow  (powder)  and  carmine, 
diffused  over  the  face  pretty  equally,  with  the 
colour  heightened  at  that  part  of  the  cheeks 
which  may  be  preferred.  This  done  artistically 
gives  a  very  healthy  and  natural  glow  of  youth 
to  the  face  and  features,  which,  though  even 
plain  in  mould,  thereby  receive  a  pleasing 
appearance.  The  yellow,  it  will  be  seen,  is 
quite  toned  down  by  the  carmine,  until  it  really 
ceases  to  be  perceptibly  yellow  ;  and  which,  in 
return,  modifies  the  brightness  of  the  carmine. 
These  together  produce  a  mellow,  warm  flesh 
colour,  and  if  used  in  conjunction  with  grease 
paints,  and  then  finished  by  the  application  of 
powder  all  over,  a  good  effect  can  be  guaranteed. 
Eegarding  the  powder,  the  following  can  be 
recommended  as  a  useful,  clean,  and  harmless 
preparation,  being  prepared  from  arrowroot : — 
Take  a  quantity  of  the  finest  arrowroot,   which 


28 


AN  ORNAMENTAL    CLOCK   CASE. 


mutt  he  quite  free  from  moisture  (and  for  this 
reason  it  is  as  well  to  dry  it  before  the  fire),  and 
pound  it  into  a  fine  powder  in  a  mortar ;  divide 
this  into  parts,  and  colour  these  by  adding  to 
one  a  little  Armenian  bole,  to  another  carmine, 
to  another  chrome,  to  another  ruddy  rouge,  and  so 
on,  leaving  the  last  portion  free  from  any  colour 
whatever.  The  colours  must  be  used  very  spar- 
ingly, just  enough,  in  fact,  to  give  the  desired 
tinge  to  each  powder.  Mix  each  part  well  in  the 
mortar,  and  put  ready  for  use  in  round  shallow 
tin  boxes,  and  keep  as  air-tight  as  possible,  to 
prevent  the  absorption  of  moisture  from  the 
atmosphere.  If  a  broad  rubber  band  be  placed 
round  the  joint  of  the  lid  and  box,  it  will  keep 
the  powders  perfectly  dry.  The  various  coloured 
powders  thus  obtained  will  all  be  found  exceed- 
ingly useful;  but  the  two  most  generally  required 
aro  those  coloured  with  carmine  and  Armenian 
bole.  Actors  will  find  the  use  of  the  latter  one, 
and  actresses  that  of  the  former  one,  very  much 
more  effective  than  the  use  of  a  plain  white. 


A  Quaint  Corner  Cabinet,  especially  suitable 
for  a  boudoir  or  sitting-room,  and  which  can 
stand  upon  the  floor  or  be  hung  on  the  wall,  is 
made  from  the  small  clothes-horse,  which  comes 
three  feet  in  height.  The  horse  is  opened  to  the 
form  of  a  triangle,  bringing  the  opposite  ends 
together  and  fastening  them  securely.  Three 
shelves,  J  inch  thick,  are  cut  to  rest  upon  the 
three  sets  of  bars,  having  the  angles  cut  to  fit 
around  the  uprights.  The  front  of  the  shelves 
are  then  decorated  with  a  narrow  fretwork 
border,  or  ornamental  moulding,  and  the 
cabinet  finished  in  white  and  gold.  In  place 
of  the  fretwork  the  front  of  the  shelves  may 
be  ornamented  with  bands  of  chamois  skin  cut 
in  a  decorative  open  work  design,  and  lined 
with  yellow  silk,  or  with  such  other  decoration 
as  fancy  may  suggest. — Builder  and  Woodworker. 

To  make  a  Quick-drying  Polish  to  finish  wood 
applied  without  friction,  dissolve  4  ounces  best 
shellac  in  two  pints  strong  alcohol,  add  2  pints 
linseed  oil  and  1  pint  spirit  of  turpentine,  shake 
and  add  4  ounces  sulphuric  ether  (common 
ether)  and  4  ounces  aqua  ammonia.  Shake 
when  used,  and  apply  with  a  sponge  lightly. 


AN  ORNAMENTAL  CLOCK  CASE. 

By  CBAS.  A.  PARKER. 


N  the  present  article  it  is  the  writer's 
intention  to  show  how  an  amateur 
woodworker  may  readily  construct 
a  very  neat  and  useful  wooden  clock  case,  to 
contain  one  of  the  ordinary  cheap  American 
nickel  -  plated  drum-shaped  clocks,  usually 
sold  at  novelty  stores  for  about  four  shillings  ; 
and  as  the  design  consists  chiefly  of  simple 
fret-cut  work,  it  will  come  well  within  the  scope 
of  an  amateur.  By  reference  to  Fig.  1,  it  will 
be  seen  that  the  front  and  sides  are  fret-cut, 
the  remainder  of  the  case  being  formed  of 
evenly  planed  lengths  of  wood  of  the  required 
size,  which  are  glued  together  in  the  form  of 
a  box  or  case,  having  a  door  behind  by  which 
to  gain  access  to  the  clock,  for  the  purpose  of 
winding  and  setting  the  hands. 

The  first  proceeding  will  be  to  mark  out  a 
full-size  pattern  of  Fig.  1,  the  measurement 
being  9,}  inches  by  3|  inches,  employing  a 
sheet  of  paper  of  double  thickness,  in  order  that 
two  of  these  patterns  may  be  cut  out  by  means 
of  a  pair  of  scissors,  after  which  they  are  to 
be  pasted  on  to  a  board  of  sufficient  size,  \ 
inch  thick,  which  is  then  carefully  sawn  to 
the  outline  by  a  fret-saw,  care  being  taken  to 
saw  square  through  the  board.  When  the  two 
sides  have  been  prepared,  a  paper  plan  of  the 
front  of  the  case  (Fig.  3)  is  then  drawn  on 
another  sheet  of  paper,  the  outside  measure- 
ment of  this  being  6|  inches  by  5j  inches, 
having  an  opening  4  inches  in  diameter  in  the 
centre;  and  when  this  is  ready,  it  is  pasted 
on  to  a  suitable  piece  of  J-inch  wood,  which 
is  afterwards  sawn  to  the  outline,  the  same 
as  before.  A  narrow  strip  of  wood  of  the  same 
thickness  is  also  marked  out  and  sawn  to  the 
form  of  Fig.  4  ;  this  being  the  shaped  top  of  the 
railing  at  the  back  of  the  case.  The  flat  top  of 
the  case,  which  may  be  the  same  thickness  as 
the  front,  will  measure  5$  inches  by  3£  inches ; 
this  may  have  one  of  the  long  sides  curved 
or  rounded,  as  shown  at  a  (Fig.  5),  or,  if 
preferred,  it  may  be  left  square,  and  a  narrow 
strip  of  beading  can  be  afterwards  stuck  on. 


AN  ORNAMENTAL    CLOCK   CASE. 


29 


The  bottom  of  the  case,  which  is  shown  at  b 
(Fig.  .5),  is  a  piece  of  J-inch  wood  ok  inches  by 
2|  inches,  planed  up  smooth,  square,  and  true. 
Thus  prepared,  the  case  is  readjr  for  putting 
together ;  but  before  this   is   done,  it  will  be 


top  and  bottom  of  5  inches.  "When  the  glue  has 
set,  the  other  side  may  be  put  iu  position,  when 
the  case  will  be  ready  for  the  door,  which  is 
formed  of  a  single  piece  of  3l-inch  wood 
measuring  o\  inches  by  5-J-  inches,  being  hung 


necessary  to   plane  up   a 

couple   of  pieces   of    deal 

to  measure   o|  inches  by 

2|  inches,  and  f  inch  thick. 

If  good  glue  is  used  fcr 

putting  the  case  together, 

screws  and    nails  will  be 

rendered  unnecessary ;  lay 

one   of  the   fret-cut   sides 

on  a  flat  surface,  then  take 

the  fret-cut  front  and  the 

top  of  the  case,  and  having 

glued  the  edges,  place  them 

in  position  on  the  side  of 

the  case,  as  shown  in  the 

sectional  diagram  (Fig.  5). 

It  will  be  necessary  to  glue 

one  of  the  pieces  of  wood 

just  prepared  to  the  inside 

of  the   case  in  the  form 

of  a  fillet,  as  shown>t  c  (Fig.  5),  the  bottom 

being  afterwards  glued  in  the  position  indicated 

at  b,  with  the  other  fillet  glued  on  the  inside,  in 

such  a  position  as  to  allow  a  space  between  the 


FIG.  I. —  CLOCK  CASE  COMPLETE.  FIG.  2. —  SIDES. 
FIG.  3.— FRONT.  FIG.  4.— TOP  OVER  RAILING.  FIG. 
5.— SECTION  OF  CASE.  FIG.  6. — RAILING.  FIG.  7. — 
BRASS  TURN  BUTTON.  FIG.  8.  —  FRETWORK  RAIL 
FOR  TOP  OF  CASE.  FIG.  9. — TURNED  RAIL,  FULL 
SIZE,    FOR   TOP  OF  CASE. 


in  position  by  means  of  a 
pair  of  -J -inch  brass  hinges, 
a  small  brass  turn  button, 
similar  to  Fig.  7,  serving 
to  keep  it  closed. 

It  will  be  found  a  great 
improvement  if  three  thin 
strips  of  black  wood  are 
glued  across  the  front  of 
the  case,  in  the  position 
shown  in  Fig.  1,  as  it  re- 
quires something  of  this 
kind  to  relieve  the  wood. 
Next,  for  the  railing, 
which  is  shown  in  Fig.  6, 
turn,  or  get  turned,  six 
small  spindles  f  inch  long, 
leaving  a  slight  tenon,  of 
l  inch  thick  at  each  end, 
to  hold  them  in  the  rail 
These   spindles  are  fitted 


at  top  and  bottom, 
into  holes  bored  in  the  rails,  which  are  a  couple 
of  strips  of  wood  f  inch  by  J  inch,  forming  a 
very  neat  little  railing,  similar  in   appearance 


30 


AMATEUR    CONJURING. 


to  Fig.  9,  that  may  be  glued  in  position  on 
top  of  the  case  at  the  back,  as  shown  in  Fig. 
1  ;  the  final  finish  being  given  by  the  shaped 
piece  (Fig.  4),  which  is  glued  on  to  the  top  rail, 
the  two  sloping  edges  of  this  piece  of  wood 
being  furnished  with  a  couple  of  thin  slips 
o£  wood,  as  shown  at  a,  Fig.  4,  which  are  glued 
ou  to  them  in  the  position  indicated  at  b. 
Another  style  of  railing  for  the  top  of  the  case,, 
which  may  be  preferred  by  some,  is  shown 
in  Fig.  8.  In  order  to  dispense  with  the  turned 
wooden  spindles,  it  can  be  formed  of  a  single 
piece  of  carefully  cut  fretwork,  or,  if  desired, 
the  six  pillars  may  be  fitted  into  a  piece  of 
fretwork,  formed  of  a  series  of  half-circles,  of 
the  distance  of  the  spindles  apart,  with  a  smaller 
circle  in  the  spaces  between  them,  similar  to  the 
upper  portion  of  Fig.  8 ;  the  smaller  circles  may 
be  readily  drilled  by  means  of  a  centre-bit.  In 
glueing  up  the  wood,  always  remember  that  glue 
applied  hot  and  thin  will  make  the  best  joint, 
as  it  is  thereby  enabled  to  penetrate  the  pores 
of  the  wood. 

If  the  case  has  been  made  in  mahogany  or 
walnut,  and  the  reader  is  unable  to  French 
polish  the  work,  a  very  good  effect  will  be 
obtained  by  giving  it  several  coats  of  knotting 
varnish,  which  may  be  rubbed  in  by  means 
of  a  soft  woollen  cloth,  similar  to  French  polish. 
It  will  be  found  to  dry  quickly,  with  a  highly 
glazed  surface. 


The  Old-fashioned  Hall  is  somewhat  diffi- 
cult of  treatment,  as  the  long  straight  lines  do 
not  lend  themselves  to  artistic  ends.  The  lines 
must  be  broken,  and  the  best  method  is  by  the 
use  of  Moorish  lattice-work,  dropping  a  couple 
of  light  arches  from  the  ceiling,  directly  over 
and  in  a  fine  with  the  foot  of  the  staircase, 
letting  them  meet  over  the  newel  post ;  a 
Japanese  bead-curtain  dropped  from  the  hall 
arch  head  permanently  fastening  it  against  the 
wall  at  the  height  of  the  newel  post.  The 
arch  heads  should  be  made  of  the  same 
kind  of  wood  as  that  used  in  the  finish 
of  the  hall,  and  may  be  simply  carved,  deriv- 
ing their  principal  value  from  their  shape. — 
Builder  and  Woodworker. 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 
By  ARTHUR  BARLEY. 


I. — Properties  for  Fitting-up. 

THINK  it  would  not  be  out  of  place, 
at  the  beginning  of  these  papers,  to 
just  say  a  few  words  on  fitting-up 
your  properties  ready  for  an  entertainment. 
Some  of  you  may  say,  "  We  don't  want  to 
know  how  to  fit  up ;  we  want  to  know  some 
tricks  " ;  but  I  have  always  found  that  if  you 
have  your  properties  arranged  in  proper  order,  a 
trick  goes  off  as  well  again  as  if  you  had  to  hunt 
for  this,  and  look  for  that,  which  you  quite  for- 
got until  the  trick  was  about  half  done.  There 
is  no  need  for  large,  unwieldy,  gilded  tables, 
with  a  tablecloth  hanging  all  the  way  down  the 
front ;  your  audience  will  be  sure  to  suspect  it. 
Neither  is  there  need  to  have  a  pointed  cap  and 
long  dressing-gown,  with  mysterious  signs  all 
over  them. 

These,  then,  are  the  necessaries :  You  may 
get  two  light  gipsy-tables,  those  with  the  tripod 
stand,  which  are  very  cheap  now.  If  you  are  a 
turner,  you  will,  perhaps,  get  more  pleasure- 
from  making  them  yourself ;  but  be  that  as  it 
may,  we  shall  require  two.  Now,  as  to  trap- 
doors in  them.  I  do  not  fancy  trap-doors  myself  ; 
but  for  the  benefit  of  those  who  do,  I  will  describe 
the  making.  First  of  all,  pull  the  legs  out  so 
as  to  get  the  top  handy  for  working  at;  then, 
with  a  fret-saw,  cut  your  traps  to  fancy.  The 
square  ones  are  the  easiest  to  make,  and  they 
act  as  well  as  any.  After  you  have  cut  the  wood 
out,  hinge  it  with  a  pair  of  small  brass  hinges  \ 
I  do  not  say  one  hinge,  because  if  you  only  put 
one  on,  you  will  soon  find  that  sometimes  your  trap 
refuses  to  open.  Then  cover  the  top  of  the  table 
with  green  cloth.  Glue  the  cloth  on,  tack  round 
the  edge,  to  prevent  the  cloth  curling  up.  Fig.  1 
shows  under  side  of  table.  Then  cut  a  piece  of 
wood  to  form  the  tray,  or  "  servante,"  as  it  is 
technically  called,  as  in  Fig.  2.  I  cannot  give 
the  shape,  as  the  tables  vary  in  size  and  pattern. 
Now  get  some  fringe,  about  4  or  5  inches  deep, 
and  tack  all  round  the  edge,  except  about  8  inches 


AMATEUR    CONJURING. 


31 


at  the  back,  where  the  fringe  would  be  in  the 
way  when  3~ou  were  taking  anything  from  the 
"  servante."  The  depth  of  the  fringe  must  be 
regulated  by  the  depth  of  the  "  servante  "  from 
the  top  of  the  table.  Then  get  a  piece  of  clock 
spring,  and]fasten  it  so  that  it  holds  the  trap  up, 
as  in  Fig.  1.  The  "  servante  "  should  also  have 
some  cloth  fastened  on  it,  so  as  to  deaden  the 


the  conjuring  apparatus  proper.  Have  your 
screen  fixed  very  firmly,  as  a  friend  of  mine, 
giving  an  entertainment  some  little  time  ago, 
accidentally  knocked  down  hisjscreen,  and  the 
audience  had  the  pleasure  of  seeing  him  placing 
a  bank-note  in  the  centre  of  a  candle  in  prepara- 
tion for  his  next  trick. 

Do  not  have  a  lot  of  entirely  useless  things 


I  l.'i 


B 


I 


i 


f/'// 


\  i 


©  s 

■  °  •, 

^ 

s 

F  i  c  I .  Underside  of  Table 

sound  of  anything 
dropped  through  the 
trap.  The  table  is 
now  finished. 

"When  perform- 
ing, the  two  tables 
should  have  plants 
standing  on  them, 
so  that  no  inquisi- 
tive individual,  who 
may  come  prowling 
around,  may  see 
the  traps.  Now  borrow  a  couple  of  chairs, 
and  place  one  near  each  table.  Then  get  the 
kitchen  table,  and  tack  fringe  round  all  the 
sides,  except  the  one  on  which  the  drawer  is. 
Pull  the  drawer  about  8  or  10  inches  open,  and 
you  have  a  splendid ' '  servante "  (see  plan ,  Fig.  3). 
There  is  no  necessity  to  have  a  stage,  side- wings, 
curtains,  etc. ;  but  you  may  have  a  screen  behind, 
to  which  you  may  retire  at  "  half-time."  That 
is  everything  you  require,  of  course  excepting 


fig  3    Plan  showing  arrangement  of  room  for  entertainment. 

FIG.    I. — A,    SPRING  ;  B  B,    HINGES  ;    C,    DOOR  ;    D,    STAY  TO    KEEP 

DOOR    IN     PLACE     WHEN     NOT    IN     USE.        FIG.     3. — A,  KITCHEN 

TABLE  ;     B  B,    SMALL    ROUND    TABLES  ;     C  C,    CHAIRS  ;  D,    DRAW 
FOR    "  SERVANTE." 


F I C .  2 .  Section  of  Table 

littered  about,  as 
they  only  hinder  you. 
Do  not  do  a  trick 
twice,  however  well 
you  can  do  it,  as 
you  may  be  sure  that 
the  person  who  asks 
you  has  an  inkling 
of  how  the  trick  is 
done,  and  only  wants 
you  to  do  it  again, 
to  make  certain.  Do 
not  turn  your  back  to  your  audience,  as  they 
are  nearly  certain  they  saw  you  do  something 
when  your  back  was  turned.  Do  not  take  notice 
of  any  remarks  your  audience  may  make,  as 
there  is  generally  one  individual,  at  least,  whe 
"  knows  how  that's  done."  Do  not  get  flurried, 
or  you  are  nearly  sure  to  make  a  mess  of  the 
trick  you  are  doing. 

In  my  next  article  I  will  give  a  few  hints  on 
"  sleight  of  hand  proper." 


32 


WHERE  DID  I  PUT  IT? 


WHERE   DID  I  PUT  IT? 

By  C.  MAYNARD  WALKER. 


E^  HERE  was  a  letter  came  for  you,  dear, 


while   you  were    in    the    city  —  I'll 

get  it   for   you  now Dear  me  ! 

where  did  I  put  it  ?  —  I  cannot  find  it  any- 
where." "Really,  Maud,  you  should  be  more 
careful ;  that  is  a  most  important  letter,  and  its 
loss  would  be  a  serious 
matter  for  me."  "Well 
Arthur,  I  am  awfully 
sorry  I  have  misplaced 
it  for  the  time,  but  it 
must  turn  up  somewhere ; 
hut  I  do  wish  we  could 
have  some  handy  con- 
trivance for  holding 
letters  and  papers 
securely — one  is  so  apt 
to  lay  a  piece  of  paper 
or  letter  down  in  a 
hurry,  and  forget  all 
about  it  directly.  I 
think,  if  I  were  a  man 
I  would  contrive  some-  T* 
thing  of  the  sort  off- 
hand!" The  above, 
not  altogether  imagi- 
nary, conversationmust 
be  the  writer's  excuse 
for  devoting  a  short 
article  to  a  most  handy 
and  useful  household 
knicknack,  in  the  form 
of  an  improved  spring- 
clip       letter       guard, 

which,  while  being  sufficiently  ornamental  for 
the  position  it  is  intended  to  occupy,  is  very 
easily  made  at  a  trifling  cost ;  and  unlike  the 
ordinary  hinged  or  open  guards,  will,  by  means 
of  a  spring,  hold  the  smallest  piece  of  paper  as 
securely  as  a  packet  of  letters  ;  thus  fulfilling  a 
very  general  requirement  in  a  private  house,  or 
even  a  place  of  business.  Fig,  1  represents  the 
finished  article  in  use,  Fig.  2  being  a  back  view 
of  the  same,  showing  the  method  of  construction. 
Of  course,  any  number  of  guards  may  be  put 


together  in  the  same  manner ;  but  probably 
three  or  four  will  meet  most  requirements.  Fig. 
1  was  made  of  ordinary  deal,  J  inch  thick ;  but 
the  quality  of  the  material  I  must  leave  entirely 
to  the  reader.  Having  decided  this  point,  cut 
a  length  13  inches  by  If,  shaped  as  in  Fig.  2, 
for  the  back ;  the  particular  shape  is  unimpor- 
tant, so  that  it  is  unnecessary  to  give  a  separate 
sketch.  It  will  be  seen  that  the  object  of  what 
little  ornament  there  is  upon  it,  is  to  hide  it, 
as   much   as   possible, 


in  the  front, 
upper   curved 


FIG.  I.— FkONT. 


In  the 
part  a 
hole  is  made  by  which 
to  hang  it  to  a  nail, 
etc.,  when  in  use.  Fig. 
3  is  a  full-size  pattern 
of  the  guard,  of  which 
for  a  pair,  as  shown, 
sis  pieces  are  to  be  cut. 
In  order  to  get  the 
pattern,  it  will  be  most 
convenient  to  lay  a 
piece  of  tracing  paper 
over  the  illustration, 
and  having  pasted  it 
on  the  wood,  and  cut 
out  one  piece,  an  in- 
definite number  of 
copies  may  be  obtained 
by  a  simple  method, 
which,  as  it  is  applic- 
able to  all  kinds  of 
fretwork,  of  which 
a  number  of  copies 
are  required,  the 
reader  will  pardon  me 
turning  aside  for  a 
Unless  for  very  large 
any  other  method,  and 
deem  any  pattern  that  is  worth  working  up 
at  all,  is  worth  while  keeping  the  first  cut 
as  a  printing  block  for  further  supplies.  Having 
cut  out  the  pattern  as  true  as  possible,  and 
corrected — by  filing,  or  otherwise — any  error  that 
can  be  remedied ;  take  ordinary  black  ink, 
copying  by  preference  (but  any  sort,  black, 
red,  or  blue  will  answer),  and  add  sufficient 
sugar   or   syrup   to    give  it   a  slightly  thicker 


FIG.  2. —BACK. 


moment    to    describe 
work,  I    seldom    use 


WHERE   DID   I  PUT  IT 7 


33 


consistency  than    could    be    used  for   writing ; 
keep  this  in  a  well-corked  bottle.     Now  make 
a  dabber  (Fig.  4),  by  covering  a  small  bundle 
of    old    rag    with 
a   piece   of    cloth, 
forming      a      flat 
round     knob      of 
about      2     inches 
wide  ;  this  should 
be  well  wetted  and 
squeezed,     so     as 
to    be    damp    all 
through.  Youthen 
have     to      simply 
apply    it    to    the 
mouth  of  the  ink- 
bottle,       with      a 
shake  to  get  suffi- 
cient     upon     the 
surface  ;     "  dab  " 
the    face    of    the 
pattern,    in    such 
a      manner       as, 
although  covering 
the  work  well,  to 
leave    very    little 
ink.    Having  pre- 
viously     damped 
some  white  paper, 
lay  it  upon  two  or 
three    thicknesses 
of  cloth ;   lay  the 
inked  pattern  face 
down,  and  apply  a  little  pressure, 
as  experience  will  teach,  and  you 
can  take  off  as  many  prints   as 
you  like.     I  think,  by  the  way, 
this  was  the  earliest  method  of 
printing.       Be    careful    not    to 
over-ink,  or  you  will  get  irregular 
fuzzy  outlines.     But  to  return  to 
our  work.     Having  cut  out  the 
material  as  described  so  far,  cut 
three  pieces  of  steel  spring  for 
each  rack ;  these  should  be  two 
inches  long ;  what  is  known  as 
•'crinoline"  spring  will  answer 
very  well,  about  §  inch  wide ;  a 
small  hole  should  be  punched  in  4._"  DAIJB 


FIG.  3. — FULL  SIZE  PATTERN  OF  GUARD.      CUT  SIX  FOR  A  PAIR 


both  ends,  to  facilitate  which,  the  ends  should 
bo  softened  by  heating  in  a  lamp  flame  to 
a  dull  red ;  the  corners  of  each  end  should  also 

be  turned  over,  so 
that  when  they  are 
fitted  into  position 
they  will  enter  the 
wood,    and   make 
the     work     rigid. 
Cut  three  holes  in 
the    back   \   inch 
deep,  as  shown  in 
Fig.  2,  the  lower 
one  If  inches  from 
the     bottom,     the 
middle      one      4J 
inches,     and     the 
upper  one  "-^inches 
from  the   bottom, 
measuring      from 
the  centres  of  the 
holes.      Now,    by 
means     of     small 
screws,  fasten  one 
end  of  each  spring 
to  the   centre   tab 
of  each  guard  from 
behind ;  screw  up 
tight,   so  that  the 
bent     corners     of 
the  steel  enter  the 
wood ;     pass     the 
other  end  of  steel 
through  the  back  from  the  front, 
and   screw   on  to  the   back,    as 
in  Fig.  2,  beginning  at  the  top 
one ;    adjust   the   clips  to   what 
degree  of  tightness  you  prefer, 
by  bending  them  before  screwing 
to  back.     Paint,  polish,  or  stain, 
as  your  taste  may  prefer ;  then, 
I  think,  you  will  agree  with  me 
that   you   are   in   possession    of 
a  pair  of  very 'useful  and  handy 
articles,   and  shall   not   be   sur- 
prised to  hear  that  you  printed 
off    a   number    of    copies,    and 
made    up   a  few   as    acceptable 
presents  to  your  friends. 

vol.  in.  (n.s.) — D 


34 


SOME  HINTS  FOR   AMATEUR  BOOKBINDERS. 


SOME    HINTS    FOR    AMATEUR 
BOOKBINDERS. 

By     FRANK    S.     MORTON. 


FIG.     I. — PRESS    COMPLETE,     SHOWING    BOOK    UNDER     PRESSURE,    AND 
HAVING  PIECES  OF  WOOD  ABOVE  AND  BELOW  TO  PROTECT  BINDING. 


^|0R  such  a  useful  hobby,  bookbinding 

presents   about    as  many   difficulties 

yg     in   the  way   of   complete   success   as 

any     I    know ;      but     it     can     be     mastered 

by   the   amateur    at  home,    and   with  lots   of 

patience,     and     a 

very  few  tools,  ex- 
cellent   work    can 

be   done.     I  have 

puzzled  for   hours 

over    volumes     of 

m  agazines  I  wished 

to    bind    up ;    the 

trouble  being,  per- 
haps,   that    I    set 

my    standard    too 

high.    But  the  result  well 

repaid  the  labour  when  I 

was  able   to   turn   out   a 

presentable  book.     A  few 

stray   hints   that   I  have 

learnt  by  experience  may 

be    of    benefit    to    some 

brother  amateur. 

To  have  the  book  come 

out    in    good     shape,    it 

must  be  kept  under  pres- 
sure   a    good    deal,    and 

therefore  a  press  of  some  kind  is  needed. 

very  simple  arrangement  for  the  purpose  is 
shown  in  Fig.  1.  A  thick  pieee  of  plank  is  cut 
to  dimensions  large  enough  for  the  largest  book 
that  it  will  be  likely  to  be  needed  for.  Cut  four 
notches  in  the  ends,  as  shown  in  Fig  2.  Both 
the  upper  aud  under  planks  may  be  of  the  same 
size,  or  the  upper  one  inay  be  in  two  pieces  for 
different  sized  books,  which  I  think  is  the  better 
way.  Four  common  carriage  bolts,  with  plenty 
of  thick  washers,  are  used  to  screw  the  two 
together  as  in  Fig.  1.  As  the  planks  are  likely 
to  be  scarred,  it  is  better  to  keep  smooth  pieces  of 
board,  to  go  between  them  and  the  book,  getting 
new  pieces  as  they  also  become  scarred.  With 
this  arrangement  much  or  little  pressure  can  be 


b 


D 


obtained ;  and  while  it  may  not  be  as  good  as  an 
ordinary  press,  it  has  the  merit  of  taking  up 
but  little  room  when  not  in  use.  It  is  cheaply 
made,  and  easily  worked. 

A  good  way  to  finish  the  edges  of  the  book  is 
to  sprinkle  them  with  coloured  inks.  To  do 
this,  clamp  the  book,  edge  up,  in  the  pressing 
boards,  putting  pieces  of  paper  between  the 
covers  and  fly-leaves,  and  bending  them  back 
over  the  covers  to  protect  them.     Take  a  stiff 

brush  —  an      old 

tooth-brush  is  good 

— and  dip  it  into 

the     ink,     taking 

up    a   very   little. 

Scrape   the   brush 

over    a    piece     of 

wood  till  most  of 

the    ink   is   gone,- 

trying    it    over    a 

piece      of      paper 

until   no   blots   fall  from 

the   brush.     Then  rub   it 

over  the  stick,  holding  it 

over    the    book,    and     a 

fine  sprinkle  of  ink   will 

fall    on    the    edges.      If 

tightly  clamped  together, 

the    ink    will    not    pene- 

^-j    trate   the  book ;    then  do 

the    ends    the    same.      A 

— '     nice-looking  edge  is  made 

by  first  sprinkling  with 
A  red,  and  then  with  black.  Any  spots  that  are 
on  the  edges  should  be  taken  out,  as  much  as 
possible,  with  fine  glasspaper,  after  the  book  is 
clamped  in  place.  The  ink  sprinkling  will 
cover  up  a  multitude  of  sins,  however,  in  the 
way  of  marks  and  spots. 

Lettering  and  finishing  in  gold  is  a  difficult 
operation  for  the  amateur  to  perform  without 
considerable  practice.  "With  the  tools  described 
in  the  article  on  "  Home-made  Tools  for  Let- 
tering and  Finishing  Books,"  which  was  pub- 
lished in  Part  XIX.  of  this  magazine,  good  work 
can  be  done  after  practice.  I  never  found  it  so 
easy  to  work  the  lettering  first,  and  then  pencil 
in  the  glaire  and  finish,  as  I  did  to  coat  with 
glaire  first,  and  work  the  gold  in  with  the  first 


SHOWING  POSITION   OF 
NOTCHES. 


SOME  HINTS  FOR  AMATEUR   BOOKBINDERS. 


35 


impression.  The  surface  to  be  gilded  or  lettered 
should  be  coated  evenly  with  the  glaire,  and 
allowed  to  dry.  Then  coat  again,  taking  care 
not  to  rub  off  the  first  coat ;  allow  it  to  dry 
thoroughly,  and  then  rub  over  with  cotton 
slightly  oiled.  This  will  mate  the  gold  adhere. 
If  the  gold  sticks  to  the  brass  or  copper  wheels, 
roll  them  in  lard  before  putting  them  over  it. 
The  line  work  is  comparatively  easy  to  the 
lettering.  There  is  danger  of  spoiling  the 
book  in  the  latter  operation  unless  expe- 
rience enables  one  to  do  it  safely.  The 
best  way  for  an  amateur  is  to  use  labels, 
printing  them  before  he  sticks  them  to  the  back 
of  the  book ;  scraps  of  thin  black  and  red 
leather  come  in  handy  for  this.  For  a  book 
bound  in  sheep,  one  black  and  one  red  label 
look  well.  For  morocco,  black  is  good  for  both. 
If  the  amateur  is  in  possession  of  a  printing 
outfit,  he  is  well  prepared  to  turn  out  first-class 
labels  with  ordinary  printer's  type.  To  do  this, 
lock  up  the  lines  of  type  selected  in  the  chase, 
using  only  metal  furniture  to  fill  out  with.  The 
smaller  the  chase  the  more  handy  the  operation. 
Heat  chase,  type,  and  furniture  by  laying  face 
up  on  a  piece  of  sheet  iron  over  a  large  lamp  or 
gas  jet.  Heat  slowly  and  carefully  until  the 
type  will  hiss.  In  the  meantime  have  your 
press  ready,  the  impression  regulated,  and  the 
piece  of  leather  to  be  used  for  a  label  coated 
with  glaire  and  gold.  When  the  right  heat  is 
obtained,  transfer  the  chase  to  its  place  on  the 
press  as  quickly  as  possible,  and  get  the  type 
pressed  into  the  leather  as  soon  as  it  can  be 
done.  The  chase  and  metal  furniture  will  help  to 
hold  the  heat  until  the  gold  is  set.  Bub  a  little 
lard  over  the  type  just  before  taking  it  from  the 
place  where  it  is  heated.  Care  must  be  taken 
in  heating  the  type  not  to  melt  it.  A  good  way 
to  t^H  about  the  heat  is  to  lay  a  thin  piece  of 
type  on  the  iron  by  the  side  of  the  chase ;  it 
will  melt  quicker  than  the  large  type  ;  and  when 
it  starts,  move  the  chase  farther  away  from  the 
heat.  Labels  can  be  successfully  printed  this 
way,  and  look  fine  if  properly  put  in  place. 
Cut  to  the  proper  size,  and  trim  the  edges 
down  to  nothing,  looking  out  that  the  knife 
not  notch  into  them.  Glue  and  smooth 
carefully   into    place,    and    the    job    is    done. 


Where  the  name  is  to  be  printed  directly  on 
the  book,  the  copper  type  and  holder  referred 
to  above  can  be  used,  unless  regular  tools  are 
at  hand.  A  point  to  remember  is  that  better 
work  can  be  done  if  the  holder  is  heated  as 
well  as  the  type,  so  as  to  hold  the  heat  longer. 

A  little  lacquer  puts  a  fine  finish  on  the 
book.  The  following  recipe  is  a  good  one, 
and  the  lacquer  made  according  to  it  gives  a 
rich  looking  surface.  Pulverise  and  dissolve 
1  ounce  of  shellac,  \  ounce  each  of  sandarach, 
mastic,  and  benzoin,  in  6  ounces  of  alcohol ; 
then  add  \  ounce  of  Venice  turpentine,  and 
filter.  This  will  give  a  lacquer  of  fine  colour 
and  a  good  polish,  and  when  rubbed  over  the 
leather  it  will  impart  an  excellent  finish.  A 
very  little  should  be  used,  as  it  dries  very 
quickly,  and  if  too  much  is  used  it  will  dry 
streaked. 

For  the  end  paper,  which  is  stuck  down  over 
the  inside  of  the  cover,  thick  manilla  paper  is 
good  for  ordinary  work  ;  it  isj  strong,  and  looks 
well  if  a  good  quality  of  paper  is  used.  It 
saves  the  trouble  of  making  up  marbled  paper, 
and  for  many  books  looks  fully  as  well. 


A  New  Method  of  Etching  Metals. — The 
Berlin  Papier  Zeitimg  in  a  recent  issue  describes 
what  appears  to  be  a  decidedly  improved  method 
of  etching  metals,  such  as  zinc,  from  which  it  is 
desired  subsequently  to  take  prints.  The 
image  is  transferred  in  the  ordinary  way  to  the 
surface  of  the  zinc  plate,  which  is  backed  with 
asphalte  and  immersed  in  a  bath  of  dilute  acid. 
One  terminal  of  an  electric  current  proceeding 
from  a  dynamo  is  connected  with  the  liquid,  the 
other  with  the  zinc  plate.  As  soon  as  the 
current  passes,  the  metal  commences  to  be 
attacked  with  such  rapidity  that  in  a  few 
minutes  the  exposed  portions  are  eaten  in  to  the 
depth  of  the  thickness  of  a  sheet  of  paper.  In 
this  manner  the  zinc  may  be  very  rapidly  etched 
to  any  depth  desired. 

To  make  a  Watertight  Joint  between 
Glass  and  Zinc,  for  a  small  aquarium,  melt 
together  Burgundy  pitch,  150  parts;  gutta 
pereha  in  sheets,  25  parts;  ground  pumice  stone, 
75  parts. 


36 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE   IT. 


THE  MAGIC  LANTERN  :   HOW  TO 
MAKE  AND  USE  IT. 

WITH   FULL  INSTEUCTIONS  FOE 
MAKING  A   £50   OUTFIT   FOE   £5. 

By   W.  A.  ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 

I. — Introduction — The    Body — What  Wood  to  use — 
Details  of  Construction. 

ES,  my  dear  reader,  you  can  smile.     I 

know  you  will  say  it  is  impossible, 

[and  that  the  lenses  will   cost   three 

times  the  amount ;  or  that  one  gas-bag  will  take 

all  the   money.     But,  extraordinary  as  it  may 

seem,  it  can  be  done;  a  first-class  lecturer's  tri- 

unial    dissolving    lantern,    with   all  the   latest 

improvements,  a  pair  of   10  feet  gas-bags,  and 

all  the  necessary  apparatus  for  the  making  and 

working  of  the  gases,  in  the  bargain.     Yes,  all 

the  lot  for  £5. 

It  is  universally  acknowledged  that  magic 
lanterns  afford  the  very  best  means  of  enter- 
taining both  old  and  young ;  and,  as  the  Arch- 
bishop of  Canterbury  observed,  as  a  religious, 
moral,  and  educational  agent  it  has  no  rival ; 
and  now,  that  through  the  aid  of  photography, 
slide-making  is  so  simple,  every  amateur  work- 
man should  possess  one.  The  pleasure  he  will 
be  able  to  shower  on  the  juvenile  members  of 
his  acquaintance,  ought  alone  to  repay  him,  to 
say  nothing  of  the  profit  it  is  possible  for  him 
to  make. 

But,  of  course,  there  are  lanterns  and  lan- 
terns ;  and,  say  what  you  will,  there  is  nothing 
like  the  lime-light.  You  will  probably  say  it 
is  dangerous ;  well,  all  I  can  say  is,  that  if  you 
follow  my  instructions,  it  is  perfectly  safe,  and 
impossible  to  have  an  explosion. 

The  process  of  making  the  gas,  or  rather 
the  gases,  is  so  simple,  that  a  child  can.  do 
it  ;  but  if  the  working  expenses  are  not  so 
much  an  object,  you  can  hire  the  cylinders 
ready  filled.  I  am  afraid  many  of  my  readers' 
pockets  will  not  allow  them  to  run  to  that, 
so  I  must  show  them  how  to  make  our  old 
friend  the  gas-bag,  but  it  will  be  a  new 
style ;  also  tanks,  with  water  -  pressure,  the 
ether  saturator,  etc. 

I  also  propose  to  show  you  something  new  in 


the  way  of  a  rolling  diaphragm  for  the  curtain 
effect,  an  aphengiscope  for  exhibiting  opaque 
objects,  water  tank  to  show  animalculaj,  etc. 

Hitherto  high-class  magic  lanterns  have  been 
considered  outside  the  scope  ■  of  the  average 
amateur ;  but  why,  I  never  could  understand, 
as  like  everything  else,  it  is  very  simple  when 
you  know  the  way,  and  the  tools  are  few  and 
inexpensive. 

Tlie  Body. — A  glance  at  Fig.  1  will  show 
you  the  sort  of  thing  we  are  going  to  make. 
Mahogany,  French  polished,  is  usually  employed, 
but  any  wood  will  do.  I  have  made  one  of 
American  white  wood,  called  bass,  and  decorated 
with  chez-lui  enamel. 

This  wood  is  very  easy  to  work,  fine  and  close 
in  the  grain,  takes  a  good  polish,  and  is  light 
and  cheap.  If  ebonised  and  polished,  nothing 
can  beat  it,  either  for  appearance  or  utility. 

Mahogany  is  considered  the  correct  thing, 
but  is  hard  to  work,  heavy,  and  expensive. 

Having  decided  upon  the  wood,  I  must  explain 
how  the  case  is  made,  so  that  you  will  know  the 
size  and  quantity  required.  The  side  shown  in 
Fig.  1  (where  you  will  stand  to  work  the  lantern 
when  exhibiting),  is  made  of  a  framework 
1  inch  wide,  with  a  stile  in  the  centre,  and 
should  be  about  ^  inch  thick  ;  it  can  be 
halved  together,  but  better  far  to  be  mortised; 
this  will  take  a  piece  24  by  4  inches  by  f  inch, 
minus  the  saw-cut ;  but  as  we  are  not  working 
to  hair-breadths,  it  will  not  matter  if  our 
lantern  is  \  of  an  inch  more  or  less. 

The  left-hand  division  must  be  rabbeted  out 
to  take  the  panel  a,  or  it  can  be  secured  flat  on 
the  back  if  the  rabbeting  is  too  much  trouble. 

The  right-hand  division  is  for  the  little  door, 
b,  which  is  framed  of  \  inch  square  ;  for  this 
we  shall  require  about  5  feet  of  \  \ty  \  inch. 

It  must  be  hinged  on  the  right-hand  side,  so 
that  when  it  is  opened,  to  manipulate  the  gas, 
the  light  will  be  thrown  on  the  back  of  the 
audience,  and  not  on  the  sheet. 

If  a  little  bead  is  run  all  round,  it  will  form  a 
good  stop  for  the  door,  and  make  it  more  light- 
tight  when  closed. 

The  two  panels  can  be  very  thin,  say  \  inch, 
and  we  shall  require  about  23  by  9  inches  by 


\  inch. 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


37 


In  the  door  panel  ive  must  cut  three  holes 
with  the  fret-saw,  to  take  blue  glass  windows, 
which  enable  the  operator  to  see  that  the  lights 
are  going  on  all  right.  The  holes  are  about 
2  inches  in  diameter. 

The  glass  is  put  in  with 
putty,  and  a  brass  ring- 
screwed  on  the  front  to 
make  a  finish  ;  the  centre 
one,  in  the  centre  of  the 
door ;  the  lower  one,  about 
5  inches  from  the  plinth  ; 
and  the  upper  one,  about 
4  inches  from  the  top  ;  in 
other  words,  opposite  the 
nipples  of  the  burners. 
Fig.  2  will  give  us  the 
measurements. 

We  shall  also  require  a 
brass  knob  to  open  it  hy, 
and  a  brass  button  at  the 
top  left-hand  corner  to 
secure  it  with. 

Fig.  3  is  the  other  side 


getting  at  the  inside  should  anything  go  wrong 
with  the  burners.  One  of  the  great  faults  of 
most  makers  is,  that  the  tubes  and  fittings  are 
too  small  and  fragile,  easily  put  out  of  order, 
and  having  no  provision  or  convenience  for 
getting  at  them ;  conse- 
quently the  poor  exhibitor 
is  frequently  compelled  to 
send  it  back  to  the  makers 
to  be  repaired. 

This  door  must  also  be 
hinged  at  the  front  or  left- 
hand  side  of  the  lantern, 
have  a  brass  knob  to  open 
it  with,  and  a  brass  button 
on  the  right-hand  top 
corner  to  secure  it. 

The  stiles  are  best  about 
f  inch  wide  and  f  inch 
thick  ;  we  shall  want  for 
this  a  piece  22  by  1£ 
inches  by  -|  inch,  and  for 
the  panel  2  pieces  of  J  inch 
21  by  9  inches. 


"^ 


F  IC.  3. 


0 


§ 


12 


to  correspond  with  Fig.  1,  and  it  is  also  made 
of  framework,  as  before,  but  without  the  stile 
in  the  centre ;  so  we  shall  only  require  a  piece 
24  by  3  inches  by  |  inch. 

It  is  filled  up  with  one  big  door,  to  allow  of 


The  front,  Fig.  4,  is  a  plain  piece  of  wood 
24  by  12  inches  by  f  inch,  with  three  holes 
4i  inches  diameter  (cut  with  the  fret  -  saw), 
to  take  the  cases  that  carry  the  condensing 
lenses. 


38 


HOW  AN  AMATEUR  MADE  A   POULTRY  FARM  PAY. 


For  the  back  we  require  a  piece  of  §  inch, 
same  size  as  the  front,  and  in  which  there  are 
no  holes  of  any  sort ;  this  is  different  to  any 
lantern  you  have  ever  seen,  and  the  advantages 
of  which  you  will  see  later  on. 


HOW    AN    AMATEUR     MADE    A 
POULTRY  FARM  PAY. 

By  J.  E.  E.  J.  HARRIS. 

N  enthusiastic  poultry  fancier  once  put 
the  question  to  himself— Do  poultry 
pay  ?  and  selecting  various  breeds  by 
way  of  trial,  he  proposed  to  test  the  question  by 
experience.  Renting  a  house  with  under  an 
acre  of  meadow  land  adjoining,  he  proceeded,  at 
an  expenditure  of  about  five  pounds,  to  convert 
an  old  cow  lodge  into  a  poultry  house,  with 
divisions  therein  to  accommodate  seven  different 
breeds  of  fowls.  Some  forty  shillings  were  ex- 
pended in  wire  netting  to  partition  off  about  a 
quarter  of  the  meadow  into  poultry  runs  leading 
from  the  fowl  house ;  so  that  each  variety  had 
dormitory  and  runs  to  its  own  separate  use. 

Coloured  Dorkings  are  fine  full-breasted, 
short-legged,  and  large  birds.  As  a  table  fowl 
there  is  no  variety  comes  near  them  for  sweet- 
ness and  delicacy  of  flesh,  for  quality  and 
quantity  of  meat,  alike  rich,  tender,  and  full  of 
flavour ;  and  their  eggs  being  on  a  par  with 
their  table  qualities,  our  friend  selected  two 
dozen  of  this  breed  to  start  his  poultry  farm. 

The  Plymouth  Bock  has  its  admirers,  and  some 
fanciers  declare  they  would  not  be  without  this 
breed  if  they  wish  to  secure  strong  broods  of 
early  spring  chickens,  and  a  constant  supply  of 
large  brown-shelled  eggs.  "Why  the  brown- 
coloured  egg  should  sell  in  the  market  better 
than  the  white  one  of  the  Dorking  or  the  Ham- 
burgh, is  a  detail  which  passes  comprehension. 
It  has  been  said  that  the  brown  eggs  are  richer 
in  flavour  than  the  white  ones  ;  but  surely  depth 
of  colour  in  the  shell  cannot  impart  depth  of 
tone  or  quality  to  the  taste.  At  any  rate,  twelve 
Eocks  were  added  to  the  farm  stock,  that  their 
behaviour  might  be  compared  with  others,  and 
judged  upon. 


The  Langshan,  with  some  breeders,  is  a  very 
favourite  class ;  a  good  layer  of  rich  brown 
eggs,  and  not  prone  to  sitting — half  a  dozen  of 
these  found  their  way  to  keep  company  with  the 
Eocks  and  the  Dorkings.  The  Americans  have 
a  strong  fancy  for  the  Silver  Wyandotte ;  a 
plump  table  bird,  standing  confinement  well, 
laying  a  brown  egg,  and  thriving  like  the  Eock, 
anywhere,  under  any  conditions.  Half  a  dozen, 
Wyandottes  were  added  to  the  farm  stock. 

Broody  hens  in  the  early  season  are  sometimes- 
very  difficult  to  obtain ;  and  with  a  view  to 
a  large  quantity  of  spring  chickens,  recourse 
was  had  to  some  of  the  more  determined  sitting 
breeds,  and  six  Light  Brahmas,  six  Buff  Cochins, 
and  twelve  Partridge  Cochins  were  imported ;  so 
that,  with  eggs  and  chickens,  all  emergencies 
might  be  duly  provided  against.  Six  dozen 
fowls  in  all,  costing,  at  three-halfpence  per  bird 
per  week,  nine  shillings  for  subsistence,  and 
reckoning  the  outlay  for  buildings,  etc.,  and  the' 
cost  of  the  fowls,  five  shillings  per  head  for  true- 
bred  birds,  as  so  much  invested  capital,  to 
return  interest  in  kind. 

Some  fanciers  hold  that  one  penny  per  head 
per  week,  especially  upon  a  grass  run,  is  suffi- 
cient allowance  for  food ;  but  birds  in  runs 
depend  almost  entirely  on  their  keeper  for  what- 
ever they  may  eat,  and  if  at  three-halfpence  the- 
birds  would  never  refuse  a  little  more,  then 
three-halfpence  has  not  exceeded  the  bounds  of 
moderation  and  domestic  economy,  when  applied 
to  the  amateur's  egg  basket.  Starting  with  the 
commencement  of  the  year,  proceed  to  enter  the 
weekly  expenditure.  But  why,  it  may  be  asked, 
commence  poultry  keeping  in  January  when 
hens  are  not  in  full  lay  till  spring.  Simply  be- 
cause a  stock  of  laying  hens  is  not  readily  attain- 
able when  birds  are  in  full  profit,  and  their 
owners  have  had  the  loss  of  keeping  them  in. 
idleness  during  the  winter. 

Now,  we  often  read  in  many  of  the  excellent 
poultry  manuals  that  such  a  breed  is  a  laying 
fowl  through  the  winter,  that  another  will  be  in, 
full  lay  nigh  ten  months  out  of  twelve,  and  that 
some  special  laying  breeds  are  possessed  of  such 
remarkable  fecundity,  they  almost  lay  two  eggs 
per  day  in  the  height  of  the  season,  when  visitors 
from  the  town  swarm  into  the  country,  and  must 


A    CHESTNUT  ROASTER. 


39 


have  their  matutinal  new-laid  eggs  at  any  cost 
and  under  any  conditions.  But  experience 
teaches  a  little,  and  Dorking  or  Cochin,  Kock 
or  Brahma,  these  birds  seem  to  have  some 
rooted  antipathy  against  providing  a  constant 
supply  of  eggs  when  the  fowl-runs  are  white 
with  snow,  and  the  water  in  the  drinking 
troughs  is  frozen  up.  January  is  the  birds' 
holiday  time;  February,  and  one  or  two  old 
hens  will  take  a  turn  at  egg  production,  as  if 
in  preparation  for  starting  the  machinery  in 
motion  to  fully  realise  the  farmer's  dream  of 
profit — a  plentiful  supply  of  March  hatched 
chickens. 

.  It  will  not  be  out  of  place  here  to  put  on 
record  the  chicken  butcher's  estimate  of  the 
various  breeds  mentioned  in  this  paper,  without 
regard  to  quality  of  egg,  and  looking  at  the 
birds  solely  for  their  value,  when  cooked  and  on 
the  table.  The  Dorking  holds  the  place  of  pre- 
eminence; in  fact,  as  table  birds,  the  butcher 
will  hardly  look  at  one  of  the  others. 

The  Bock's  yellow  legs  and  yellow  skin  are 
two  great  objections,  and  though  the  flesh  is 
rich,  it  is  neither  so  rich  nor  so  juicy  as  that  of 
the  Dorking,  and  the  traces  of  yellow  fat  to  be 
found  in  the  bird,  are  strong  objections  to  the 
breed  as  an  article  of  diet.  These  same  remarks 
apply  with  equal  force  to  the  "Wyandotte,  the 
Langshan,  the  Cochin,  and  the  Brahma,  and  each 
is  rejected  by  the  butcher  on  account  of  the 
feathered  leg,  the  lean  breast,  and  a  certain 
rankness  of  flavour  in  the  flesh. 

During  the  early  spring  months,  say  up  to  the 
end  of  June,  some  three  hundred  chickens  were 
hatched;  about  half  of  these  being  feather- 
legged,  were  sold  at  two  shillings  a  couple,  the 
other  half  realised  three  shillings  the  brace. 
Over  eighty  dozen  eggs  were  sold  at  an  average 
of  one  shilling  per  dozen  ;  and  there  was,  besides, 
a  liberal  egg  supply  for  a  household  of  eight 
persons.  The  total  cost  of  keep  for  twenty-six 
weeks  amounted,  at  nine  shillings  per  week,  to 
eleven  pounds  fourteen  shillings.  Sales  of 
chickens  reached  eighteen  pounds  fifteen 
shillings  ;  eggs  realised  four  pounds  ;  making 
a  total  on  the  credit  side  of  twenty- two  pounds 
fifteen  shillings,  and  a  profit  of  eleven  pounds 
one  shilling ;  not  allowing  anything  for  the  rich 


manure  which  helped  to  bring  to  perfection  a 
magnificent  crop  of  potatoes,  which  lasted  the 
fanrity  till  new  potatoes  came  in  the  following 
year,  and  not  counting  the  pleasure  of  enjoy- 
ment at  will  of  a  somewhat  scarce  article  of 
diet — a  genuine  new-laid  egg. 


A  CHESTNUT  ROASTER. 

Bv  II.  J.  W. 


||S  Christmas  is  fast  approaching  us,  and 
it  never  comes  without  chestnuts,  I 
thought  a  short  article  on  a  roaster 
might  be  acceptable  to  our  amateur  tin-smiths, 
who  no  doubt  have  received  many  a  lecture  for 
baking  chestnuts  on  the  fire-grate,  when  all  of  a 
sudden  one  bursts  and  makes  a  report  like  a 
gun,  scaring  the  elderly  ones  out  of  their 
senses. 

The  bottom  is  made  of  No.  22  Birmingham 
wire-gauge  sheet-iron,  and  has  a  lock  seam  (see 
"Joints  used  in  Tin-plate  Working,"  Vol.  II., 
page  289).  It  has  eight  clamps  (see  d,  sectional 
elevation)  rivetted  on  the  sides,  and  on  to  these 
is  dropped  a  perforated  bottom.  A  hole  is  cut 
out  of  the  side,  and  a  door  rivetted  on ;  a  hasp 
is  also  secured  to  door  by  means  of  rivets.  The 
top  is  wired  with  J-inch  rod ;  and  the  bottom 
has  four  legs,  rivetted,  which  should  be  of  same 
material  as  the  fire-pot.  The  fuel  used  is  char- 
coal. The  roaster,  as  will  be  seen  from  the 
sectional  elevation,  is  separate  from  the  bottom 
or  fire-pot.  The  material  used  is  2  inches  by  10 
inches.  The  sides  are  tapered ;  the  outside 
apartment  is  for  water,  the  inside  to  roast  the 
nuts.  The  cover  is  hinged  on,  and  a  knob  is 
placed  on  opposite  side  of  the  hinges  (see  e. 
side  elevation). 

Handles  are  also  rivetted  on  each  side  of  both 
fire-pot  and  roaster  ;  the  latter  to  lift  same  from 
fire  if  desired  (see  c). 

b  represents  a  vent  for  the  steam,  and  is  a 
bottle-screw,  with  a  hole  made  in  it,  and  has 
a  taper  cylindrical  tube  soldered  on  ;  the  latter 
has  a  "  soldered  seam." 

a  represents  a  bottle-screw,  wherewith  to 
fill  the  water  partition.     A  knob  is  placed  on 


40 


A    CHESTNUT  ROASTER. 


centre  of   cover;    or,  if  preferred,  a  fancy  tin 
ornament,  like  shape  shown  in  drawing. 

The  oven  rests  on  the  edge  of  the  water  apart- 


The  seams  for  both  compartments  are  made 
alike,  the  bottom  being  "  turned  up,"  and  sides 
"  lock-seamed." 


Back  elevation. 


Side  elevation 


End  Elevation 


A  Bottle  screw. 
B.  Vent  tube 
C   Handles 
D  Supports, 
Z    Knob. 


Loncituoinal  Sectional  Elevation 


ment,  and  is  soldered  to  same,  as  will  be  seen  in 
sectional  elevation ;  the  latter  being  panned  to 
tapered  sides,  and  resting  on  wired  top  of 
fire-pot. 


I  should  not  advise  an  amateur  to  attempt 
making  the  above  article  until  he  has  mastered 
the  construction  of  joints  in  tin  work,  when  he 
might  at  once  proceed  without  fear  of  failure. 


A     USEFUL    TOWEL-HORSE. 


41 


A  USEFUL  TOWEL-HORSE. 

BEING  THE  FIEST  OF  A  SEBIES 
DEALING  WITH'  AETICLES  OF 
HOUSEHOLD   UTILITY. 

By  ED.  C.  E  OE,  Junr.,  Silver  and  Honours  Medalist  City 
and  Guilds  of  London  Institute. 


We  have,  doubtless,  all  heard  or  seen  about 
the  enamel  paint  which  is  stated  to  be  the  paint 
for  amateurs'  use.  Be  this  as  it  may,  it  is 
undoubtedly  a  very  useful  composition  ;  and  our 
towel-horse,  when  completed,  is  just  the  thing 
on  which  to  try  our  skill  at  enamelling.     The 


S3T  is  probable  that  here  and  there  will 
be  found  a  reader  who  will  remark, 
"  What  an  extremely  simple  thing  to 
publish,  namely — How  to  make 
a  towel-horse."  Now,  I  have 
observed  many  times,  that  such 
simple,  useful,  and  quickly  made 
articles  of  utility  are  very 
welcome  to  the  worker  who  has 
only  a  limited  amount  of  spare 
time,  and  plenty  of  room  to  be 
occupied  by  such  things.  This 
being  the  case,  I  venture  to 
place  this  paper  before  you,  and 
trust  to  be  able  to  continue  from 
time  to  time  short  papers  similar 
to  this,  on  easily  made  and  tasty 
articles  of  furniture,  etc.,  for 
household  use. 


~y 

F         ■ 

' 

choice  of  tint  used  will,  of  course,  be  governed 
by  taste  and  circumstances ;  but  I  would  ask 
the  worker  to  give  a  passing  glance  to  a  broken 
white  tint  which,  I  believe,  is  termed  "  Ivory." 
Now,  if  this  paint  is  used,  when  you  purchase 
you  will  have  full  instructions  with  it,  so  that  it 
will  be  unnecessary  for  me  to  occupy  both  time 
and  space  with  a  repetition  of  such. 

The  best  material  to  use  in  the  construction 
of  the  horse  is,  if  we  intend  painting,  pine  ;  if 
French  polishing  or  varnishing  be  preferred, 
pine  may  still  be  used  with  effect,  but,  generally 
speaking,  hard  wood  is  preferable,  on  account  of 
its  superior  appearance  and  strength. 


42 


A    USEFUL    TOWEL-HORSE. 


The  sketches  are  to  the  scale  of  Ih  inches 
to  a  foot,  the  details  being  half  size ;  the  radii 
of  the  curves  are  figured,  so  that  no  difficulty 
should  occur  on  that  score. 

Our  first  operation  must  be  to  cut  out  the  four 
legs.  When  setting  out,  allow  1  inch  extra  length 
to  each,  for  the  tenon  into  top,  e  ;  half  size 
section  of  legs  is  shown  at  a.  Be  particularly 
careful,  when  cleaning  up,  to  work  square  to 
the  face  of  the  stuff.  The  four  legs  may  now 
be  placed  together,  and  the  mortises  set  out  to 
take  the  tenons  on  the  cross  bars,  b  and  c.  J 
elevations  are  shown  half  size  of  each  ;  but  if  it 
is  preferred,  the  two  together,  taken  as  J  eleva- 
tion, would  look  well ;  if  this  is  done,  both  may 
be  alike.  The  mortises  will  be  sufficiently  large 
if  they  are  \  inch  long  by  \  inch  wide.  It  is 
not  necessary  to  drive  the  mortises  through ;  if 
they  are  stubbed  in  about  f  inch,  and  good 
glue  be  used  when  putting  together,  the  strength 
given  will  be  found  all  that  is  requisite.  Should 
any  doubt  be  entertained,  the  bottom  cross-piece 
may  be  tenoned  through;  but,  in  any  case,  it  is 
not  necessary  to  treat  the  middle  one  so.  The 
tenons  on  top  of  legs  will  require  to  be  /^ 
inch  in  thickness,  as  shown  by  dotted  lines  at 
A,  and  if  left  about  1  inch  long  it  will  be  found 
ample. 

The  top  is  prepared  in  two  portions — one  being 
e,  the  other  n  ;  we  must  get  out  the  e  pieces 
first,  and  after  planing  up  all  round,  set  out  the 
mortises  to  take  the  tenons  on  top  of  legs  (4 
elevation  is  shown  at  e)  ;  these  mortises  run 
through,  being  wedged  on  the  top  side,  and 
afterwards  cleaned  off  flush.  It  is  often 
advisable  to  lower  the  top  of  the  tenon  below 
the  surface  of  surrounding  stuff  by  means  of  a 
gouge ;  this  precaution  is  taken  in  case  of 
shrinkage  occurring,  as  the  tendency  would  be 
to  force  off  the  top  piece.  The  mortises  for  the 
two  rails  require  cutting  in  the  edge  of  e,  in 
position  shown  at  m  on  e,  and  then  we  can  work 
the  hollow,  which  is  best  done  by  working  first 
the  ends  or  across  the  grain,  and  afterwards  the 
sides,  or  with  the  grain.  Having  fitted  the  legs 
into  top,  the  cross-pieces,  c  and  d,  require 
cutting  out,  and  mortising,  and  tenoning  for 
the  rails ;  the  mortise  should  be  about  J  inch 
by  |  inch  (see  Fig.  g). 


The  mortises  in  e  should  be  about  1  inch 
deep,  and  in  b  and  o  it  can  be  arranged,  if  care 
be  taken,  not  to  run  these  through,  but  after 
glueing,  to  put  in  a  skew  nail  from  the  under 
side. 

Of  rails  we  require  four — two  to  section  h,  and 
two  to  section  g  ;  the  length  is  really  conditional 
upon  circumstances,  but  I  would  suggest  2  feet 
6  inches  long  as  being  convenient.  The  tenons 
on  the  ends  will,  of  course,  be  set  out  in  accord- 
ance with  the  mortises,  and  cut  before  working 
into  shape.  The  ends  of  the  rails,  as  section  h, 
will  require  careful  scribing  to  the  hollow  on  e  ; 
a  half  size  elevation  of  this  is  shown  at  i. 

I  think  that  it  is  quite  clear,  from  the  sketches, 
that  there  are  two  top  rails  in  the  position 
shown  at  h. 

The  remaining  things  to  be  seen  to  are  the 
top  pieces  shown  at  d  ;  these,  it  will  be  observed, 
are  worked  hollow  on  both  sections.  Care  must 
be  exercised  to  work  the  hollows  evenly,  as- 
otherwise,  when  finished  with  a  shiny  surface, 
defects  are  easily  discernible.  Perhaps  the  hint 
to  prepare  a  rubber  from  a  piece  of  waste  wood, 
in  section  the  reverse  of  the  hollow,  on  which  to 
stretch  the  glasspaper,  will  prove  of  use. 

I  can  imagine  the  voice  of  our  Editor  saying, 
in  mild  yet  suggestive  tones,  that  all  things, 
even  towel-horses,  must  have  an  end,  and  there- 
fore we  must  hasten  to  screw  the  two  top  pieces 
on  with  a  couple  of  screws  to  each,  and  reach 
that  end  which  I  have  hinted  at. 

In  conclusion,  I  would  refer  the  worker  to 
that  remedy  for  all  ills,  namely,  "Amateurs  in 
Council,"  should  anything  unforeseen  crop  up>. 


Combined  Toning   and   Fixing    Bath. — The 
formula  is  as  follows  : — 

Dissolve  in  warm  water  . .    10  ounces 

Acetate  of  soda  . .  . .     2  drachms 

Sulphocyanide  of  ammonium        2       ,, 
Hyposulphite  of  soda..  ..20       ,, 

And  when  quite  cold  add  to  the  above  5  grains 
of  chloride  of  gold  previously  dissolved  in  about 
1  drachm  of  distilled  water.  The  above  bath 
has  given  me  such  satisfaction  that  for  some 
time  now  I  have  used  no  other,  except  for  pur- 
poses of  experiment. — Photo.  Review. 


PAPER  NEGATIVES,  AND   OTHER   SUBSTITUTES  FOR    GIASS. 


43 


PAPER  NEGATIVES,  AND  OTHER 
SUBSTITUTES  FOR  GLASS. 

By  R.  A.  R.  BENNETT,  BA.  (Oxon).  President  of  the 
Photographic  Section  of  the  Oxford  Nat.  Hist.  Society, 
Ben.  Sec.  of  the  literary  Photographic  Club,  etc. 


*jTTF,  substitution  of  paper  for  the  glass 
3  of  the  ordinary  dry-plate  has  been 
received  by  many  -workers  as  an 
entirely  new  and  original  idea,  and  looked  upon 
as  being  the  dream  of  the  future,  when  no 
thoughts  of  broken  negatives,  heavy  packages 
requiring  additional  aid  for  their  transportation, 
and  boxes  of  unexposed  plates,  opened  by  the 
ruthless  hands  of  unscientific  Custom  House 
officials,  shall  harass  the  mind  of  the  enthusi- 
astic tourist  travelling  in  company  with  his 
camera. 

A  certain  amount  of  advantage  certainly 
appertains  to  the  use  of  paper,  or  films,  in  the 
place  of  glass.  They  are  enormously  lighter,  and 
pack  into  a  much  smaller  space  for  travelling; 
then,  when  developed,  they  can  be  packed 
tightly  into  boxes  for  storage,  and  several 
dozen  will  go  into  the  place  of  half  a  dozen 
negatives  on  glass.  Their  unbreakableness  is 
also  an  advantage,  even  at  home,  for  sad  mis- 
fortunes have  occurred  to  careless  operators 
who  have  let  fall  a  box  loaded  with  glass 
negatives. 

The  use  of  paper  for  glass  is  not,  however,  by 
any  means  a  new  one ;  it  was  attempted  many 
years  ago,  even  in  the  days  of  the  old  collodion 
process ;  but  it  was  found  impossible  to  free 
the  paper  from  grain,  and  therefore  the  attempt 
was  given  up.  Great  improvements  have,  how- 
ever, been  made  in  it  of  late  years,  and  it  has 
now  come  largely  into  use. 

One  advantage  possessed  by  paper  over  glass, 
from  a  purely  technical  point  of  view,  is,  that 
paper  is  not  apt  to  suffer  from  "halation," 
which  is  the  bane  of  all  interior  work.  It  has 
been  debated  by  numerous  authorities,  what  the 
cause  of  halation  may  be ;  but  whether  it  is 
due  to  reflection  from  the  back  of  the  glass, 
diffraction  caused  by  "motes"  floating  in  the 
air,    or  unequal    dispersion    of    the    rays    from 


a  brilliantly  lighted  object  by  the  glass  of 
the  lens,  certain  it  is  that,  as  a  general  rule, 
halation  may  be  ignored  when  we  are  using 
paper  as  a  support  for  the  film  instead  of  glass. 

For  cloud  effects,  film  negatives  are  to  be 
preferred,  as  they  can  be  printed  from  either 
side  ;  they  are  also  an  advantage,  for  the  same 
reason,  when  we  desire  to  use  the  negatives  for 
photo-mechanical  or  carbon  printing,  and  for 
Eastman's  transferotype  paper,  which,  if  used 
with  a  glass  negative,  requires  to  undergo  the 
process  known  as  "  double  printing,"  if  the 
picture  is  to  appear  as  in  nature,  and  not 
reversed,  i.e.,  the  left  side  right,  and  the  right 
side  left. 

For  all  these  reasons  paper  is  to  be  preferred 
to  glass ;  but  many  are  hindered  from  the  use 
of  paper,  by  the  disadvantages  incidental  to 
making  the  paper  transparent,  which  is  generally 
achieved  by  soaking  it  in  oil  or  vaseline  ;  this,  of 
course,  adds  an  additional  element  of  difficulty, 
as  the  oil  or  vaseline  may  not  conduct  itself  in 
a  proper  manner.  Moreover,  it  has  practically 
been  found  impossible  to  entirely  eradicate 
the  grain  of  the  paper,  and  therefore  the  plan 
of  only  using  a  temporary  support,  and  after- 
wards removing  the  film,  was  introduced. 
Unfortunately,  this  also  has  its  drawbacks,  since 
the  film  does  not  always  leave  the  support  with 
the  readiness  required ;  and  to  damage  a  valuable 
negative  in  the  last  stage  of  its  manipulation,  is 
rather  exasperating. 

Lately,  however,  there  have  been  introduced 
the  already  well-known  ivory  and  celluloid 
films ;  and  so  many  obstacles  have  been  over- 
come by  their  use,  that  it  seems  not  unlikely 
that  at  some  future  time  we  may  have  a  celluloid, 
or  other  film,  which  will  combine  the  advantages 
of  the  paper  (which  has  its  own  commendable 
properties,  chief  of  which  is  the  fact  that  it  can 
be  used  in  a  continuous  roll,  while  celluloid 
cannot)  and  those  of  the  transparent  celluloid 
films.  For  the  present,  the  best  course  to  adopt 
is  the  use  of  plates  when  at  home,  and  weight 
does  not  much  signify,  and  the  use  of  films 
when  travelling  abroad,  in  which  case  the 
increased  facility  of  porterage,  etc.,  overcomes 
the  additional  work  to  be  expended  on  them  on 
returning  home. 


44 


PAPER   NEGATIVES,  AND    OTHER   SUBSTITUTES  FOR    GLASS. 


Paper  and  films  alike  can  be  developed  just 
in  the  same  way ;  and  as  instructions  have  been 
given  as  to  ordinary  development  in  this  maga- 
zine, it  is  unnecessary  to  occupy  space  by  re- 
capitulating them.  The  metabisulphite  of 
potash  developer  has  been  warmly  recom- 
mended for  films.  The  following  is  the  formula — 

Pyro  Solution. — Pyrogallic  acid,  480  grains  ; 
metabisulphite  of  potash,  480  grains ;  distilled 
water,  to  make  15  ozs.  of  solution. 

Bromide  Solution  (restrainer). —  Ammonium, 
bromide,  480  grains ;  distilled  water,  to  make  4 
ozs.  of  solution. 

Ammonia  Solution  {accelerator). — Liquid  am- 
monia (-880),  1  oz. ;  distilled  water,  9  ozs. 

Or,  Potash  and  Soda  Solution  {accelerator).  ■ — 
Carbonate  of  potash,  480  grains;  carbonate  of 
soda,  480  grains  ;  ferrocyanide  of  potash,  480 
grains;  distilled  water,  to  make  10  ozs  of 
solution. 

With  this  developer  you  can  begin  by  diluting 
1  drachm  of  pyro  solution  to  measure  1  oz.,  and 
add  i  drachm  of  the  soda  and  potash  solution  as 
accelerator ;  or,  if  you  prefer  the  ammonia 
solution,  you  can  begin  with  1  drachm  of  that. 
In  my  own  practice  I  always  prefer  to  begin 
with  too  little  accelerator,  and  gradually  add 
more  till  the  whole  picture  is  well  out. 

The  bromide  solution  will  not  be  required, 
except  in  cases  of  over-exposure ;  or,  if  you 
prefer  to  be  cautious,  you  can  add  a  few  drops 
before  beginning  to  develop,  and  increase  the 
quantity  if  the  picture  is  found  to  have  been 
over  exposed. 

The  ferrous  oxalate  developer  may  be  used  to 
develop  films,  and  the  lately  introduced  hydro- 
quinone  also  suits  them  especially  well,  on 
account  of  its  tanning  action  on  gelatine,  which, 
of  course,  hardens  the  film  to  a  certain  extent, 
and  renders  it  less  liable  to  come  to  grief 
afterwards. 

A  short  account  of  each  of  the  different  brands 
of  films  and  paper  negatives  will  be  of  use,  as 
most  of  them  have  more  or  fewer  peculiarities  of 
their  own,  which  necessitate  different  treatment 
from  other  makes. 

Morgan  and  Kidd's  Negative  Paper. — This  being 
a  sample  of  the  original  paper  support,  a  de- 
scription of  how  to  manipulate  it  will  be  useful 


for  those  who  favour  this  process.  The  makers 
state  in  their  instructions  that  a  very  prolific 
source  of  failure  with  this  paper  is  under- 
development. If  a  glass  negative  is  taken,  and 
a  piece  of  paper  of  similar  thickness  to  that  of 
the  negative  paper  is  placed  at  the  back  of  it,  it 
will  be  found  that  when  the  glass  negative  is 
viewed  through  and  straight  down  (i.e.,  by 
reflected  and  transmitted  light),  the  shadows 
appear  veiled  and  not  very  brilliant,  although 
the  negative  may  be  of  perfect  printing  quality. 
This  gives  us  a  standard  by  which  to  judge  the 
printing  density  of  the  paper  films. 

All  papers,  or  films,  are  placed  in  a  dish  of  cold 
water  before  developing  for  two  minutes,  in 
order  that  the  developer  may  flow  evenly  over 
the  surface  at  once  on  being  inserted  in  the 
develojsingbath.  A  glass-bottomed  dish  answers 
well  to  develop  in,  as  the  paper  clings  to  the 
bottom  if  the  developer  is  poured  off;  and, 
therefore,  by  holding  the  dish  up  to  the  light  at 
intervals,  pouring  off  the  developer,  the  progress 
of  development  can  be  easily  watched. 

The  developer  given  before,  or  any  other,  may 
be  employed,  and  when  developed  the  paper  is 
passed  through  an  alum  bath,  which  should 
always  be  done,  as  this  tends  to  prevent  the  film 
becoming  blistered  or  frilling,  and  then  fixed  in 
a  solution  of  6  ounces  of  hyposulphite  of  soda 
to  the  pint  of  water.  If  any  stain  is  perceived  on 
the  negative,  soak  it  in  a  clearing  solution  of 
alum  (saturated  solution),  two  parts,  citric  acid, 
one  ounce.  Then  wash  thoroughly  in  running 
water  for  several  hours,  and  dry.  The  drying 
has  to  be  conducted  in  a  peculiar  manner,  either 
on  a  glass  plate  covered  with  talc,  or,  which  is 
best  (as  that  is  rather  uncertain  in  its  action), 
on  one  coated  with  collodion.  Take  a  perfectly 
clean  plate,  a  little  larger  all  round  than  the 
film  to  be  dried,  and  coat  it  with  the  following 
solution: — Masticated  indiarubber,  10  grains; 
benzol,  1  ounce.  Allow  it  to  dry  for  five 
minutes,  and  then  coat  with  enamel  collodion, 
made  as  follows  : — Pyroxylin,  6  grains  ;  methy- 
lated spirit,  \  ounce  ;  ether,  \  ounce.  When 
the  collodion  has  set  (which  may  be  known  by 
holding  up  the  plate,  when  it  should  not  drop 
from  the  corner),  wash  it  thoroughly  under  a 
tap,  until  the  natural  repulsion  which  the  surface 


PAPER   NEGATIVES,  AND    OTHER  SUBSTITUTES  FOR    GIASS. 


45 


exerts  on  the  water  is  overcome,  and  the  water 
lies  evenly  on  the  collodion.  Now  put  the 
plate,  with  the  collodion  side  upwards,  in  a  dish 
of  cold  water,  and  put  the  negative  film  on  the 
top  of  the  collodion  under  water ;  lift  out  the 
glass  with  the  film  on  the  top  of  it,  place  on  the 
film  a  sheet  of  clean,  dry,  blotting-paper,  and 
rub  a  roller  squeegee  all  over  the  blotting-paper 
until  the  moisture  is  all  absorbed ;  leave  it  till 
dry,  when  it  will  peel  off  the  glass  naturally, 
or  will  come  off  easily  if  pulled  gently.  After 
this,  it  is  necessary  to  go  through  the  process 
of  rendering  the  paper  transparent,  which  is 
done  by  oiling  it,  either  with  vaseline,  vaseline 
oil,  or  castor  oil.  The  following  is  a  good 
method  of  doing  this  : — Lay  the  negative  down 
on  a  clean  sheet  of  paper,  and  go  over  it  with  a 
rag  dipped  in  castor-oil.  Then  press  it  with 
a  hot  iron  until  it  gets  of  an  even  dark  colour 
all  over.  Plenty  of  oil  should  be  used,  so  as 
to  obtain  an  even  surface.  If  the  iron  is  too 
hot,  it  will  dry  the  oil  too  much,  and  the  rag 
will  have  to  be  applied  again ;  while  if  it  is  not 
hot  enough,  you  will  have  to  go  on  longer,  and 
it  may  still  fail  to  drive  the  oil  into  the  pores  of 
the  paper. 

"When  the  colour  is  evenly  distributed  all  over 
the  paper,  the  excess  of  oil  can  be  wiped  off 
with  a  soft  cloth,  and  in  a  short  time  the  nega- 
tive is  dry,  and  ready  to  be  printed  from. 

Instead  of  using  a  hot  iron,  you  can  hold  the 
negative  over  the  stove,  or  it  is  possible  to  i 
immerse  it  in  the  oil,  and  heat  it  until  it  sinks 
right  into  the  paper.  This  has  the  advantage 
of  expelling  the  air  in  the  paper,  and  fills  the 
pores ;  so  that  on  examining  it,  it  will  be  found 
that  the  grain  of  the  paper  hardly  shows  at  all, 
the  film  having  the  appearance  of  fine  ground- 
glass.  No  oil  must  be  permitted  to  get  on  to 
the  face  of  the  negative.  If  this  happens,  it 
should  be  removed  by  means  of  a  cloth 
moistened  with  alcohol. 

A  pleasanter  process  than  the  oil  or  vaseline 
is  the  waxing  process,  which  is  nearly  always 
used  for  enlargements.  A  piece  of  white  wax 
is  placed  on  the  negative,  which  is  supported 
flat  on  a  hot  surface — -say  the  top  of  a  stove — 
and  the  wax  is  melted  evenly  all  over  the  paper 
by  means  of  a  hot  iron.     Any  surplus  wax   J3 


removed  by  blotting-paper.  "When  dry  the  wax 
is,  of  course,  hard,  which  adds  to  the  firmuess 
of  the  negative. 

Oiled  negatives  are  preserved  by  being  stored 
between  sheets  of  stearine  paper,  which  any 
chemist  will  supply.  If  after  a  time  the  oil  is 
found  to  have  dried  in  places,  leaving  a  patchy 
appearance,  the  negative  can  be  entirely  re- 
oiled,  which  will  put  matters  right  again. 

As  a  certain  amount  of  grain  was  found  to 
appear  with  paper  negatives,  the  next  advance 
was  to  separate  the  film  from  the  paper  after 
development,  thus  avoiding  the  grain.  The 
chief  brand,  which  is  formed  after  this  manner, 
is — 

Eastman's  Stripping  Film. — These  consist  of 
an  insoluble  gelatine  film  attached  to  a  tem- 
porary paper  support  They  are  developed  and 
fixed  as  Morgan  and  Kidd's  paper  is,  the  fixing 
bath  being  :  Hypo,  4  ouncees  ;  water,  16  ounces. 
"When  fixed  and  well  washed,  the  stripping  pro- 
cess has  to  be  carried  out.  This  is  managed  by 
squeegeeing  the  film,  paper  and  all,  on  to  col- 
lodionised  glass,  as  described  before.  But  when 
the  paper  is  affixed  to  the  glass,  the  latter  is 
immersed  in  water  at  a  temperature  of  200° 
Fahrenheit,  which  causes  the  film  to  separate 
from  the  paper,  and  the  latter  gradually  floats 
off  if  the  dish  is  rocked.  The  film  is  then 
brushed  gently  to  remove  particles  of  paper  and 
soluble  gelatine,  and  is  then  washed  in  cold 
water  and  treated  to  the  clearing  bath  of  alum 
and  citric  acid,  as  mentioned  before.  After 
washing  for  two  hours,  the  film  has  to  be  trans- 
ferred to  its  final  support,  which  consists  of  a 
special  stripping  skin,  which  is  brought  in 
contact  with  it  under  water,  and  squeegeed  into 
optical  contact.  It  is  then  dried  for  four  or 
five  hours,  and  the  film  is  then  easily  pulled 
off  from  the  glass,  after  trimming  the  edges 
with  a  sharp  knife. 

It  will  be  readily  understood  that  all  these 
additional  processes  form  no  inconsiderable 
drawback  to  the  universal  adoption  of  the  films. 
Lately,  however,  the  celluloid  and  ivory  films 
have  been  coming  to  the  fore,  and  we  are  now 
offered  a  flexible  celluloid  film  which  has  been 
brought  out  by  the  ever  energetic  Eastman 
Company.     Such  a  film  will,  no  doubt,  be  taken 


46 


PAPER  NEGATIVES,  AND    OTHER   SUBSTITUTES  FOR   GLASS. 


up  warmly  by  amateurs,  as  the  films  have 
manifest  advantages  over  the  paper,  but  cannot 
be  rolled  up  as  tightly.  For  those  who  desire 
portability,  the  Eastman  roll-holders  are  the 
beau  ideal  of  lightness  compared  with  glass.  The 
rolls  of  paper  are  inserted  when  as  many  as  the 
roll-holder  will  contain  have  been  exposed.  As 
many  as  forty  pictures  can  be  taken  on  one  roll 
without  inserting  another  ;  the  roll-holder 
automatically  shifts  the  exposed  paper  on,  and 
presents  another  surface  in  the  camera,  by  wind- 
ing up  the  roll  from  one  roller  on  to  another. 

Celluloid,  or  ivory  films,  however,  can  be 
exposed  in  the  camera  by  means  of  a  special 
holder  to  fit  the  dark  slide,  without  any  of  the 
straining  arrangements  necessary  when  paper 
is  used  in  this  way.  There  are  two  kinds  of 
film,  of  which  a  description  will  serve  for  any 
other.     The  first  is — 

Carbutfs  Ivory  Film. — These  films  are  manu- 
factured in  America,  the  support  for  the 
emulsion  being  a  thin  transparent  description  of 
celluloid,  manufactured  by  the  American  Cellu- 
loid Company.  These  sheets  of  celluloid  are 
naturally  of  a  polished  surface,  but  one  side  is 
slightly  ground,  to  render  the  surface  more 
strongly  adhered  to  by  the  negative  film.  This 
matt  surface  is  a  guide  in  the  dark  room,  by 
which  we  can  tell  when  the  film  side  of  the  plate 
is  next  the  lens  in  the  camera. 

Carbutfs  films  are  developed  precisely  as 
glass  plates,  and  give  admirable  results.  They 
are  only  sold  by  the  London  Stereoscopic  Com- 
pany, 106  and  108,  Regent  Street,  W.,  who  are 
sole  agents  ;  any  dealer  can  obtain  them  to  order. 
I  have  used  many  of  them,  and  find  that  the 
manipulations  are  exactly  the  same  as  with 
glass,  but  the  films  take  a  somewhat  longer  time 
to  fix.  This  is  probably  owing  to  the  use  of 
a  little  more  iodide  in  the  emulsion,  and  it 
signifies  but  little  in  actual  work. 

The  difference  between  Carbutfs  ivory  films 
and  glass,  is  only  the  difference  between  a 
negative  on  a  slightly  matt  surface  and  on  a 
glazed  one.  The  ground  surface  of  the  celluloid 
makes  but  little  difference  in  printing  ;  in  fact, 
the  difference  is  considered  an  advantage  by 
some  makers  who  are  grinding  the  surface  of 
their  plates,  considering  it  an  advantage.     It  is 


supposed  by  some  to  prevent  "  halation,"  but  it 
is  a  moot  point  whether  or  not  it  actually 
does  so. 

Lately,  celluloid  films  have  been  introduced 
from  America,  and  coated  in  this  country.  Of 
these  Fry's  were,  I  believe,  the  first,  or  nearly 
so,  made  by  S.  Fry  and  Co.  (now  the  Fry 
Manufacturing  Company),  5,  Chandos  Street, 
Strand,  W.C.  Splendid  results  can  be  obtained 
on  these  films  by  expert  manipulation.  The 
ivory  films  for  positives,  made  by  the  same 
Company,  are  among  the  most  beautiful  effects 
that  photography  is  capable  of  making ;  these 
are  treated  in  a  precisely  similar  way  to  bromide 
paper,  the  hydroquinone  developer  giving 
especially  pleasing  results. 

Fitch's  films  are  a  speciality ;  he  has  not  only 
negative  films,  but  positive  also,  and  these  are 
embossed  in  various  shapes.  Pictures  printed 
on  these  give  highly  unique  effects.  His  address 
is  E.  H.  Fitch,  34,  Angell  Eoad,  Brixton,  S.W. 

Negative  films  can  be  exposed  in  an  ordinary 
slide  if  a  piece  of  thick  cardboard  is  placed 
behind  the  film  to  support  it  in  its  place.  If 
the  film  is  to  remain  for  long  in  the  slide,  dry 
the  cardboard  well  before  using. 

When  the  packet  is  opened,  the  films  will  be 
found  packed  face  to  face,  with  pieces  of  thin 
paper  between  them.  With  some  films  the 
shiny  side  is  the  film  side,  and  with  others  the 
matt  side.  For  example,  the  shiny  side  of 
Fry's  is  the  film  side,  and  the  matt  side  of 
Carbutfs.  The  instructions  which  accompany 
the  films  must  therefore  be  carefully  attended 
to,  to  avoid  mistakes. 

When  developing,  a  deep  dish  should  be 
used,  and  the  developer  should  be  made  to 
travel  over  the  surface  of  the  film  energetically. 
The  films  have  a  tendency  to  float,  which  can  be 
counteracted  by  this  means.  Either  soak  the 
film  for  a  few  minutes  in  water  before  com- 
mencing to  develop,  or  use  a  broad  camel's-hair 
brush  to  sweep  over  the  surface  when  first  put 
in,  and  thus  avoid  air-bubbles.  In  developing 
a  very  large  plate,  if  it  is  found  to  float  to  an 
objectionable  extent,  a  broad  band  of  tin-plate 
can  be  used  to  keep  the  film  under  the  surface, 
by  inserting  it  in  the  ends,  which  are  turned  up 
to  admit  it.    When  in  the  alum  and  hypo  baths, 


NOTES   ON  NOVELTIES. 


47 


the  film  can  be  gently  pressed  against  the  bottom 
of  the  bath,  when  it  -will  stay  there  of  its  own 
accord. 

The  films  are  dried  by  supporting  them  in  a 
leaning  position  to  drain,  or  they  can  be  placed 
in  a  negative  rack,  with  care.  The  former 
method  is,  however,  preferable,  as  the  film  has 
a  slight  tendency  to  curl  as  it  dries,  which  must 
be  allowed  for.  When  dry,  it  will  be  straight 
again. 

If  the  negative  needs  intensification,  this  can 
be  performed  as  in  the  case  of  glass.  The 
cyanide  of  silver  and  mercury  intensifier  is  the 
best  to  use  for  films.  It  can  be  applied  either 
before  or  after  rendering  the  paper  transparent, 
always  taking  care  that,  in  the  latter  case,  the 
surface  is  free  from  wax  or  oil,  which  would 
cause  a  repulsion  of  the  aqueous  solution  ;  and 
it  would  therefore  leave  spots  unintensified,  by 
not  acting  on  the  surface  at  those  points. 

The  following  is  the  method  of  making  this 
mercury  and  cyanide  intensifier  : — 

No.  1 .  Mercuric  chloride,  1 00  grains ;  bro- 
mide of  potassium,  100  grains;  water,  10 
ounces. 

No.  2.  Argentic  nitrate,  100  grains;  water, 
10  ounces. 

Have  ready  a  bottle  containing  100  grains  of 
potassic  cyanide  in  10  ounces  of  water,  and  add 
this  gently  to  No.  2,  shaking  at  intervals,  until 
the  precipitate  which  is  formed  on  adding  the 
first  few  drops  is  nearly  dissolved  again  in 
excess  of  the  cyanide,  but  not  quite,  the  last 
traces  still  remaining. 

Soak  the  film  in  water  for  two  minutes,  and 
then  place  it  in  a  bath  of  No.  1.  In  a  few 
minutes  the  image  will  be  thoroughly  bleached. 
Take  out  the  film,  and  wash  it  for  a  quarter  of 
an  hour  in  running  water.  Then  place  it  in  a 
bath  of  No.  2,  till  the  bleaching  is  seen  through 
the  film  to  have  given  way  to  a  blackening  at 
the  back  as  well  as  the  front.  Then  take  it  out 
at  once,  and  wash  thoroughly.  It  does  not 
answer  to  leave  the  film  for  too  long  in  No.  2, 
or  the  solution  has  a  reverse  effect,  and  begins 
to  reduce  the  density  again  after  a  certain  point 
is  reached.  Should  the  negative  be  too  dense 
after  the  operation,  it  can  be  immersed  in  a 
solution  of  two  grains  hyposulphite  of  soda  to 


one  ounce  of  water.  If  left  long  enough  in  this, 
it  will  be  reduced  right  back  to  its  original 
density,  so  that  when  it  gets  to  the  right  point, 
it  can  be  at  once  taken  out,  and  the  action 
stopped.  The  negative  will  look  denser  when 
wet  than  afterwards  when  dry,  so  that  allowance 
must  be  made  for  this,  and  the  film  removed 
when  it  is  still,  apparently,  a  little  too  dense. 


NOTES  ON   NOVELTIES. 

By  THE  EDITOR. 


ERIODICALS  AND  CATALOGUES.— I  have 
had  so  little  space  in  recent  Numbers  to  devote 
to  these  notices,  and  so  much  requiring  notice, 
that  quite  a  pile  of  literature  has  accumulated 
on  my  table,  where  it  confronts  me  with  a  mute  reproach. 
Some  of  it,  so  far  as  I  am  concerned,  will  have  to  be  con- 
signed to  oblivion ;  for  the  rest,  I  take  up,  haphazard,  as 
much  as  I  have  space  for.  First  comes  The  Journal  of 
Microscopy  and  Natural  Science  (Bailliere,  Tindall,  and  Cox, 
King  William  Street,  Strand,  London,  W.C.),  published 
quarterly,  price  Is.  6d.  The  number  before  me  is  the  last 
part  of  the  third  volume,  new  series.  Amongst  much 
interesting  matter,  it  contains  the  continuation  of  a  useful 
and  practical  paper,  "  The  Elements  of  Microscopy,"  by 
C.  E.  Bousfield,  L.R.C.P.,  M.R.C.S.  Under  the  title,  "A 
Homely  Zoophyte-Trough,"  J.  Anderson  Smith,  M.D., 
describes  a  handy,  easily  constructed  trough  to  take  the 
place  of  the  usual  glass  zoophyte-troughs.  The  Fruit  Trade 
Journal,  a  smartly  conducted  paper,  issued  weekly  during 
July,  August,  and  September,  and  monthly  during  the 
remainder  of  the  year.  It  is  devoted  to  the  interests  of  the 
producer,  importer,  preserver,  and  merchant.  The  Amateur 
Writer. — This  is  an  unassuming  little  periodical,  consisting 
of  four  leaves  and  a  brown  paper  cover,  and  hailing  from 
Chicago.  The  raison  d'itre  of  this  somewhat  meagre  pub- 
lication is  avowedly  "to  encourage  inexperienced  authors." 
The  Editor  makes  one  remark  which  "I  freeze  on  to"  (I 
trust  this  is  a  correct  Chicago  idiom),  viz.,  "The  advice  we 
would  proffer  to  all  young  authors  is  that  they  submit  their 
articles  to  someone  having  greater  experience  and  knowledge 
than  they  possess,  and  let  them  be  corrected  as  to  grammar 
and  punctuation."  I  metaphorically  shake  hands  with  that 
Editor.  The  Optical  Magic  Lantern  Journal  and  Photo- 
graphic Enlarger,  a  penny  periodical,  edited  by  J.  Hay 
Taylor,  and  published  at  Dorset  Works,  Salisbury  Square, 
London,  E.  O.  A  paper  that  should  be  in  the  hands  of 
everyone  who  has  a  lantern,  or  intends  to  get  one.  The 
Amateur  {ZiUes  and  Co.,  24  and 26,  Wilson  Street,  Finsbury, 
London,  E.C.)  still  holds  its  own  as  the  journal  for  fret- 
workers.  The  Art  Workman  ( The  Art  Decorator  Office, 
81,  Fleet  Street,  London,  E.C),  price  Is.  6d.,  publishes 
well  executed  and  carefully  selected  designs  for  the  artist, 
arti  fleer,  and  manufacturer. 


48 


AMATEURS  IN  COUNCIL. 


AMATEURS  IN  COUNCIL. 


OPEN   lO    ALL  MEAD-EBS. 


Some  Indian  Tools. 

D.  G.  K.  (Bombay  Presidency), 
wr;tes  :  —  Allow  me  to  communicate 
with  you  from  a  distant  corner  of  the 
BritiBh  Empire,  and  to  give  you  and 
the  readers  of  Amateur  Work  an  idea 
of  what  good  work  the  excellent 
magazine  is  doing  in  remote  places. 
Some  of  its  monthly  parts  were  first 
shown  me  by  a  kind  English  friend, 
himself  a  skilled  amateur  carpenter, 
and  I  so  liked  them  that  I  have  been  a 
subscriber  of  your  magazine  from  its 
commencement,  and  have  also  since 
that  time  commenced  to  dabble  with 
joiner's  work.  You  will  also  be  pleased 
to  hear  that  I  have  prepared  a  slightly 
modified  electro-motor  with  the  help 
of  the  valuable  article  on  it  at  page 
316,  Vol.  IV.,  of  Amateur  Work.  I 
cannot  omit  expressing  my  obligation 
for  the  many  advantages  I  have  derived 
from.it.  The  fact  that  a  native  Indian 
Brahmin,  a  conservative  class  noted  for 
their  dislike  for  manual  arts,  has  been 
converted  into  an  amateur  worker, 
however  humble,  speaks  volumes  for 
the  good  work  that  the  Amateur  Work 
is  quietlv  doing  in  distant  parts  of  the 
world,  and  is  sure  to  be  very  gratifying 
to  you. 

I  wish  to  entertain  your  readers  with 
a  description  of  some  simple  but  useful 
native  tools  not  much  noticed  by  others, 
and  request  you  kindly  at  some  time 
or  other  to  find  room  for  it  and  the 
sketches  in  "  Amateurs  in  Council,"  if 
you  think  them  of  sufficient  interest 
for  your  readers.  The  Indian  work- 
man uses  only  a  few  simple  tools,  and 
the  varied  and  complicated  modern 
tools  of  the  civilised  nations  are  for  the 
most  part  unknown  to  him ;  and  yet 
he  sometimes  turns  out  work  which  is 
deservedly  admired.  Some  of  these 
tools  are  of  very  simple  construction, 
and  yet  very  handy  to  use.  One  such 
tool,  the  Indian  adze,  has  already  been 
cleverly  and  accurately  described  by 
Col.  Branson,  in  Amateur  Work,  Vol. 
V.,  page  481.  I  shall  first  describe  the 
ludian  gauge  (Phavadi). 

This  is  an  ingeniously  constructed 
simple  tool,  and  is  shown  in  Fig.  1.  D 
is   the    head,  often    square,   sometimes 


octagonal  in  form  ;  A  and  B  are  the 
two  bars,  with  cutting  points  at  the 
front  extremities  ;  0  is  a  wedge  by 
which  the  bars  A  and  B  are  kept  tight 
in  the  head.  The  very  appearance  of 
the  tool  will  show  that  it  is  simple  to 
prepare.  Eig.  2  represents  the  head 
to  scale  in  elevation,  being  one-third 
the  natural  size.  This  is  made  of  a 
close-grained  piece  of  wood  from  1 J  to 
li  inches  thick,  a  regular  octagon  in 
form,  measuring  4  inches  along  d  d,  the 
middle  line.  Two  square  holes,  A  and 
B,   J   inch    wide,   are    mortised    right 


FIG.  2 


if— 


-L 


FIC.l 


FIG. 3. 


FIG. 5. 


FIG. 4-. 


I 

FIG.  I. — INDIAN  GAUGE.  FIG.  2. — HEAD  OF  GAUGE, 
ONE-THIRD  FULL  SIZE.  FIG.  3. — WOODEN  STOCK, 
ONE-THIRD  FULL  SIZE.  FIG.  4.  —  TOP  PART  OF 
STOCK  FITTING  OVER  C,  FIG.  3,  TO  FORM  SWIVEL. 
FIG.  5. — BIT.  FIG.  6.— METHOD  OF  USING  STOCK 
AND   BITS. 


through  the  head,  exactly  at  right 
angles  to  the  surface,  equidistant  from 
the  centre  on  either  side,  and  f  inch 
(trifle  less)  apart.  They  are  so  made 
that  the  upper  side  of  a  and  the  lower 
side  of  B  are,  respectively,  J  inch  above 
and  below  the  central  line,  D  x>',  so  that 
they  overlap   each    other    by   £   inch. 


These  holes  are  to  receive  the  bars, 
which  should  therefore  be  J  inch  square 
and  about  9  inches  long,  and  fit  tight 
in  the  holes.  Then  a  wedge-shaped 
hole  is  mortised  along  the  vertical 
central  line  of  the  head,  §  inch  wide  at 
the  top,  and  §  inch  at  the  bottom ; 
thickness   of  the   hole    to    be  J   inch. 


/ 


PRESENTED   WITH     "..MA.TEUR    WORK,   ILLUSTRATED,"     PART   26,    N.£w   SERIES.        JANUARY,   1891 


A  F&rxcvj  Goal-box. 


By  .  Pedagogue 


Pcrspect.ve    view  of  Coalbo*.  complete 


WARD,     LOCK     &    CO.,     LONDON,    NEW   YORK,    AND    ME  :LBOUE,ne. 


AMATEURS  IN  COUNCIL. 


49 


This  hole  will  evidently  meet  the  inner 
Isides  of  the  holes,  A  and  B.  A  wedge- 
Ipiece  (c  C'),  made  exactly  to  fit  the 
[vertical  hole,  is  made  of  such  length 
phat  it  projects  J  inch  beyond  the  head 
■piece  on  either  side.  Lastly,  each  bar 
lis  furnished  with  a  cutting  steel  point. 
[These  bars  are  then  inserted  into  the 
Iholes  so  that  the  cutting  point  of  A  is 
[turned  down,  and  that  of  B  up.  The 
I  wedge,  c,  is  then  driven  tight,  and  a 
[  very  convenient  mortise  gauge  is  ready 
I for  use. 

In  using  the  tool,  when  the  bars  are 
I  to  be  adjusted  to  mark,  say,  the  two 
Isides  of  a  mortise  hole  of  particular 
[width,  you  have  only  to  loosen  the 
[wedge  by  knocking  on  its  bottom,  and 
[to  adjust  the  point  of  one  bar  to  the 
|  distance  of  one  side  of  the  mortise 
[from  the  edge  of  the  wood,  and  then 
[inverting  the  tool  to  set  the  other 
|  point  to  the  distance  of  the  other  side 
from  the  same  edge.  When  the  adjust- 
I  ment  is  over,  the  wedge  is  tightened  by 
tap  on  the  head.  In  marking  the 
|  wood,  one  side  of  the  mortise  is  marked 
I  by  rubbing  oue  point  in  the  usual  way 
i  against  it,  and,  inverting  the  tool,  the 
I  other  side  is  marked  by  the  other  points 
I  from  the  same  edge  of  the  wood.  The 
(cutting  points  being  set  in  opposite 
[directions,  either  of  them  is  used,  as 
in  a  marking  gauge,  without  any  inter- 
ference from  the  other ;  and  the  tool 
can  be  used  both  as  a  marking  and  a 
[  mortise  gauge  conveniently. 

There  is  another  native  tool,  simple, 

land  yet  very  useful.    I  mean  the  Indian 

[drill  (Samta),  which   I  have  not   seen 

[much    noticed   anywhere.     The   brace 

land  bit  is  not  much  used  by  the  native 

|  carpenter ;  he  mostly  uses  his  own  drill, 

land  very  conveniently,  too.     It  consists 

I  of   a    wooden   stock   and   a  steel    bit. 

[The  stock   is   turned  out  of   a  .strong 

•piece    of    wood.     The   dimensions  are 

not  always  fixed;  the   vertical  section 

|oi   one  in  ordinary  use  is   represented 

■ale   in  Fig.   3,   one-third   natural 

[eiz".     It  is  6f  inches  long,  and  2  inches 

I  thick  in  the  broadest  part.     The  middle 

[part,  M,  is  2  inches  long,  and  1J  inches 

[in  diameter.     It  may  be  mentioned  here 

[that  the  tool  is  turned  by  a  bow,  and 

•the  bow-string  is  coiled  round  this  part. 

The  bead  of   the   stock  consists   of   a 

Bhort  stem,  c',  J  inch  long,  and  as  much 

i  k,  supporting  over  it  a  conical  knot, 

C,  1J  inches  thick  at  the  bottom,  and 


1  inch  long.  It  is  intended  to  serve  as 
a  pivot,  concealed  in  the  hollow  handle 
at  the  top  (Pig.  4),  which  has  a  cor- 
responding eavity  scooped  out  on  its 
inside.  The  lower  part  of  the  stock 
(Fig.  3,  B)  is  covered  by  a  brass  ferrule 
in  well-made  tools,  and  is  about  %  inch 
long  and  1J  inches  thick.  As  this  cor- 
responds with  the  socket  of  the  brace 
to  receive  the  bits,  it  has  got  fixed  in 
its  centre  a  tapering  square  brass  socket, 
s  s',  li  inches  long,  and  the  lower  square 
mouth  ^g  inch  wide.  The  lower  face 
of  the  stock,  thus  furnished  with  the 
ferrule  and  the  central  socket,  is  repre- 
sented at  F. 

The  hollow  handle  at  the  top,  which 
corresponds  with  the  pivoted  disc  of 
the  brace,  is  also  turned  in  the  form 
represented  in  section  in  Fig.  4,  with  a 
cavity  hollowed  out  in  its  lower  thicker 
end  to  correspond  with  the  top  (Fig.  3, 
c  c')  of  the  stock,  the  stem  c'  here 
being  \  instead  of  §  inch  long.  For 
this  handle  they  select  wood  with 
parallel  straight  fibres,  so  that  when  it 
is  turned  and  ready,  they  split  it  up 
lengthwise  into  two  halves  by  a  smart 
stroke  of  the  chisel.  The  stock  head 
(c  c',  Fig.  3)  is  then  inserted  into  the 
cavity  in  the  handle,  and  the  two  halves 
are  joined  firmly  together  by  one  or 
two  screws  (a,  a',  Fig,  4),  and  the  drill 
stock  is  complete. 

Now  a  feV  words  about  the  bits. 
These,  as  is  the  case  with  brace  bits, 
are  of  assorted  sizes,  from  A  inch 
downwards.  Fig.  5  represents  one  of 
them.  In  good  tools  they  are  made  of 
steel,  uniformly  square,  and  taper  at 
one  end,  so  as  to  fit  exactly  in  the  brass 
socket  of  the  stock,  and  flat  and  thin 
at  the  other.  The  thin  end,  being  the 
cutting  part,  is  ground  to  a  point,  and 
each  side  of  thiV  angle  is  ground  a 
little.  , 

The  bow,  with  which  the  stock  is 
turned,  is  made  of  a  short,  light, 
slightly  tapering  stick,  about  2  to  2J 
feet  long,  and  J  inch  diameter  near  the 
thick  end.  The  string  is  so  loose  as  to 
give  just  two  turns  round  the  stock. 

The  manner  of  using  the  tool  is 
shown  in  Fig.  6.  The  workman  takes 
hold  of  the  pivoted  handle  by  the  left 
hand,  and  with  the  right  moves  the 
bow,  keeping  the  string  tight  with  the 
fingers.  It  may  be  observed  that  the 
bits,  being  single  cutting,  the  tool  cuts 
wood  only  while  turning  in  one  direc- 


tion. The  operator  therefore  exerts  a 
slight  pressure  on  the  handle  with  the 
left  hand  when  the  bit  is  cutting,  and 
in  the  opposite  movement  either  re- 
moves the  pressure,  or  even  slightly  lifts 
the  tool  up.  This  has  the  effect  of 
removing  the  wood  which  is  cut,  and 
keeps  the  hole  clear.  The  superiority 
of  this  tool  over  other  boring  tools  is 
in  the  rapidity  of  its  action,  the  work- 
man at  each  movement  of  the  bow 
securing  a  number  of  rapid  revolutions. 
Let  me  not  omit  to  mention  here  that 
there  are  people  who  do  not  quite  like 
this  tool,  and  call  it  clumsy.  But  this 
is  either  through  prejudice  or  ignorance; 
for  anyone  who  sees  a  native  carpenter 
working  with  this  tool  skilfully  and 
with  ease,  will  not  fail  to  be  convinced 
of  its  usefulness.  It  is  wonderful  to 
see  with  what  confidence  the  practised 
workman  can  wield  this  seemingly 
clumsy  tool. 

If  you  approve  of  what  I  have 
written  this  time,  I  may  take  another 
occasion  to  describe  some  other  native 
tools,  equally  simple  and  useful. 

May  I  request  you  to  be  so  good  as 
to  see  if  you  could  arrange  to  publish 
a  series  of  practical  articles  on  taking 
microscopic  photographs  for  micro- 
scopic slides  ? 

[Your  letter  is  extremely  interesting, 
and  we  shall  be  glad  to  hear  from  you 
again  at  any  time. — Ed.] 

Best   and  Fastest    Shutter   for   Both 
Time  and  Instantaneous  Work. 

S.M.L.  (Canada). — To  recommend  any 
particular  maker's  shutters  as  answering 
to  the  above,  would  only  be  to  invite  a 
correspondence  in  our  columns,  seeing 
that  nearly  every  shutter  user  deems  his 
particular  possession  the  best.  The 
simplest  to  make,  and,  so  far  as  my 
experience  goes,  a  generally  useful  one, 
for  either  slow  or  rapid  exposures,  is  the 
blind  shutter,  viz. :  in  a  suitable  case  or 
frame,  two  openings  in  a  piece  of  black 
fabric  pass  each  other  at  the  aperture 
of  the  lens,  the  movement  being  made 
either  by  hand-pulling,  or  by  the  action 
of  a  spring.  Place's  shutter,  on  much 
the  same  principle,  is  good  and  cheap. 
It  consists  of  two  ebonite  slides,  attached 
to  cords  working  over  a  roller,  the 
pulling  of  a  string  raising  one  and 
lowering  the  other.  It  can  be  worked 
quickly  enough  for  all  ordinary  instan- 
taneous work. — A.  A.  H. 

VOL.   III.    (N.S.) — E 


50 


AMATEURS  IN  COUNCIL. 


Pin  Puzzle  Box. 
"Retef"  replies  to  "  H.J.W.,"  p.  432. 
— Box  No.  1. — Each  piece  is  denoted 
by  the  same  letter  in  all  the  figures, 
and  all  wood  except  d  (Fig.  4),  and  G 
(Fig.  1)  is  §•  inch  thick.  Fig.  1  shows 
box  with  one  side  removed  ;  A  B  c  are 


a 


™5ez 


™>/im/»/tol>)-i  ■:■  7TOrr- -,—,—  ,,... , 


a 


ic 


e 


FIG.! 


Section  ofD 


FIG.* 


OF 


B 


EIC.3. 


grooves  ^  inch  deep.  The  sides  must 
be  cut  with  grooves  on  opposite  sides 
(Fig.  2).  The  pieces,  A,  c,  each  2  inches 
by  §  by  J,  are  glued  into  their  grooves, 
while  B  (Fig,  3)  slides  tightly  in  its 
groove.  Fig.  2  shows  end  view  towards 
the  parts  x  v  (Fig.  1).  In  Fig.  3,  Q  is  a 
notch  cut  in  the  upper  side  of  B,  and  F 
is  a  hole  with  a  peg  holding  string,  k 


(Fig.    1).     K    is    connected    with    the 
monster,  G,  which  turns  freely  round  a 
peg,   ii,  driven   through   both  sides  of 
box.     The  monster  carries  in  its  mouth 
the  needle,  l,  which  should  not  project 
more  than  J  inch.  The  piece,  n  (Fig.  4), 
is  glued  in  its  place,  as  shown  in  Figs. 
1  and  2.     When  the 
piece,  b,  is  slid  out, 
the   string,    K,    pulls 
up  the  mouster,  which 
pricks     the      thumb 
with    the   needle,   L. 
Figs.   1,   2,  3,  4  are 
half   full   size.     The 
edges       should       be 
bevelled,  and  the  box 
made  to  look  like  a 
book.     Box  No.  2  (of 
metal  or  wood,  pre- 
ferably the  former)  is 
shown   in    section   at 
Fig.  5.    P  is  the  hinge 
of  the  lid,  z  a  notch 
to     receive    v    when 
the    thumb    is    withdrawn    from   y  ; 
v    is    attached     to     the    spring,    x, 
which  is  rivetted  at  w  to  the  front  ol 
the  box  (Fig.  6).     y,  a  hollow  cylinder, 
is  also  attached  to  x,  and  the  needle,  s, 
passes  through  y  and 
a  bole   in  x,    and  is- 
embedded  in  t  (Fig. 
7).     T  is  rivetted  or 
soldered  to  the  par- 
tition, r,  which  sepa- 
rates the  mechanism 
from    the    space,    N, 
which  mav  be  utilised 
as   a    match-box,      A 
hole    is   cut    in    the 
front     (Fig.    6),     to 
admit  y.     When  the 
thumb  is  pressed  on 
y,  the  piece,  x,  leaves 
its    notch,  z,  and  the 
box  can  be   opened ; 
but  at  the  same  time 
the    needle,    s,    sup- 
ported by   t   and   e, 
pierces    the    thumb. 
If  I  have    not    made    myself   explicit, 
I   shall   be   glad   to  answer    inquiries 
through  this  medium. — Retep. 

Cyclostyle  Ink. 
"  Gulielmus  "  asks  : — "  Could  any  of 
your  readers  give  me  the  materials  and 
proportions  for  making  an  ink  suitable 
for  the  cyclostyle  ?  " 


FIGS- 


Binding  "Amateur  Work." 
■  "New  Subscriber.'' — The  Publishers  j 
supply  a  cover,  price  2s.  2d.  Tour  | 
better  plan  would  be  to  get  one,  as  your , 
bookbinder  could  certainly  not  copy  it  j 
from  a  mere  verbal  description.  The] 
cover  for  Vol.  II.  (New  Series)  is  now  ] 
ready. 

Oblong  Netting. 
H.  M.  B.  (  Weymouth). — Glad  to  hear  i 
you  succeeded  with  the  square  netting ; 
but  for  a  trammel  net  you  would  not  i 
require'  to  net  a  number  of  squares,  and  , 
then   join  them    together ;    what  you 
want  is  oblong  netting.     Commence  as 
for  square  netting,  and  increase  a  stitch 
at  the  end  of  every  row  until  there  are 
two  more  stitches  on  the  mesh   than 
you  require  for  the  width  of  the  net, 
viz.,  line  A  B  (see  Fig.  on  page  526). 
Now  decrease  at  the  end  of  the  next 
row,  by    taking    two    loops    together.  J 
From  this  point  to  the  end  of  the  work 
increase  a  stitch  at  the  end  of  one  row,  i 
and  decrease  a  stitch  at  the  end  of  the 
next  row,  alternately  ;  and  in  order  that 
there  may  be  no  mistake,  it  is  well  to  \ 
mark  the  decreasing  side  with  a  piece  i 
of  coloured  cotton.    The  side  on  which 
the  increase  is  made  is  the  longest  side  j 
of  the  net,  that  is,  on  the  line  A  c  ;  and 
when  this  side  is  as  long  as  you  desire 
the  net  to  be,  take  two  loops  together 
at  the  end  of  every  row,  and  finish  off 
exactly  as  for  square  netting.     As  you 
so  quickly  learned  square  netting,  you 
will  have  no  difficulty  with  this. 

Gilding. 

"  0.   H."  (Shepherd's  Bush,  W.).—l 
know    nothing    of     the     method     de- 
scribed   on    page  472 ;    it  is  probably 
an  American  process,  and  likely  only  to 
answer   in  practised   hands.     For  last- 
ing qualities  there  is  nothing  equal  to  \ 
the   usual   process   with    oil  gold   size 
and  gold  leaf.     Amateurs  are   recom- 
mended to  use  Brodie  and  Middleton's  I 
transfer  gold  leaf,  Is.  4d.  per  book  of 
25  leaves,  and  their  oil  gold  size,  7d. 
per  pot.     It   can  be  had   direct   from 
their   shop,    79,   Long   Acre,   London. 
The  firm  issue  a  good  catalogue  of  all 
gilding  materials,  and  send  it  post  free 
on  request.     As  "C.    H."  does  not  say 
what  articles   he   wishes    to   regild,    I 
cannot   very    well    help    any    further.  , 
If  articles  on  gilding  are  likely  to  be  of  J 
any  use  to  readers  of  Amateur  Work,  | 
I  shall  be  glad  to  write  them. — H.  L.  B.  I 


AMATEURS  IN  COUNCIL. 


51 


French  Polisliing. 

"New  Subscriber." — Instructions  for 
French  Polishing  appeared  in  Tol.  I. 
(.First  Series),  page  248  ;  also  in  Vol. 
II.,  page  510.  You  had  better  practise 
on  a  piece  of  wood  about  a  foot  square. 
There  are  many  preparations  used  ful- 
filling the  pores  of  the  .wood  before 
applying  the  polish ;  but  the  usual  one 
is  plaster  of  Paris  made  into  a  creamy 
paste  with  water,  and  coloured  by  the 
addition  of  finely-ground  colour  to  the 
same  shade  as  the  wood  to  be  polished. 
By  means  of  a  coarse  rag,  rub  this 
across  the  grain  until  the  pores  of  the 
wood  are  completely  filled,  then  care- 
fully wipe  off  all  superfluous  plaster. 
When  dry,  sandpaper  the  surface  with 
fine  sandpaper,  and  the  work  is  ready 
tor  the  polishing  process.  It  is  well  to 
remember  that  French  polish  is  neither 
more  nor  less  than  a  thin  skin  of  shellac 
laid  on  by  friction,  time  being  allowed 
for  the  evaporation  of  the  spirit  during 
the  manipulation  of  the  rubber.  Uutil 
it  has  bad  time  to  harden,  this  skin  is 
extremely  tender,  and  therefore  the 
rubbing  must  be  done  with  a  light  hand, 
and  care  must  be  taken  not  to  let  the 
rubber  stick  to  any  part.  Hake  a  pad 
of  wool,  moisten  with  polish,  and  cover 
the  pad  with  a  piece  of  soft  linen  rag. 
Sow  apply  one  drop  only  of  linseed  oil 
on  the  face  of  the  rubber,  then  rub 
every  part  of  the  work  to  be  polished 
with  a  circular  motion ;  not  too  quickly, 
but  with  a  regular,  gliding  action. 
When  the  rubber  sticks,  or  feels  dry, 
add  more  polish,  and  proceed  as  before. 
Lay  aside  the  work  for  a  few  hours, 
and  then  reuew  the  application.  Repeat 
this  four  or  five  times  until  you  have 
worked  up  a  good  surface,  and  then  let 
it  stand  for  a  day  or  two.  Finally, 
make  a  clean  pad  of  wool,  moisten  with 
methylated  spirit,  cover  with  two  folds 
of  linen  rag,  add  one  drop  of  oil,  and 
rub  quickly  all  over  the  work  ;  but  press 
as  lightly  as  possible.  This  last  process, 
which  is  technically  known  as  spiriting 
off,  is  rather  a  delicate  one  ;  and  at  the 
fir=t  attempt  you  will  probably  spoil 
your  work.  French  polishing,  like  any 
other  kind  of  mechanical  manipulation, 
requires  practice  and  patience.  A  rule 
amongst  French  polishers  is — "  Work 
well  round  the  edges  and  into  the 
corners ;  the  middle  will  take  care  of 
itself."  If  you  find  any  difficulty,  write 
again. 


Castings  for  Microscope. 

"Eetep  "  writes  to  say  that,  acting  on 
the  advice  of  "W.D.,"  Vol.  III.,  page 
239,  of  Amateur  Work,  he  has  sent  to 
Mr.  Sparrow.  6,  Belitha  Villas,  Barns- 
bury,  London,  N.,  for  a  set  of  micro- 
scope eastings,  as  there  directed,  but 
that  his  letter  has  been  returned 
through  the  Dead  Letter  Office,  and 
asks  if  anyone  can  give  him  the  address 
or  addresses  of  any  other  makers  who 
will  supply  the  requisite  materials? 

Should  this  catch  the  eye  of  "  W.  D.," 
perhaps  he  may  be  able  to  give  further 
information  on  the  subject.  In  the 
meanwhile,  "Retep"  could  examine  a 
Post  Office  Directory  for  addresses  of 
microscope  makers;  he  is  certain  to  find 
what  he  wants.  As  an  alternative,  I 
would  suggest  that  he  communicate 
with  Mr.  Lancaster,  Colmore  Bow, 
Birmingham,  who  has  repeatedly  sup- 
plied me  with  similar  material.  I 
think  if  "Retep"  states  his  wants  to 
that  firm,  he  can  get  them  supplied. — 
0.  B. 

Ebony  Walking-sticks. 

"Retep." — The  walking  stick  of  which 
the  polish  chips  off,  is  certainly  French 
polished.  This  polish,  so  excellent  in 
many  ways,  is  not  suitable  for  an  ebony 
walking-stick  in  general  use.  The  wood 
is  so  dense  and  close  in  the  grain,  that 
the  polish  is  wholly  on  the  surface. 

If,  however,  "  Retep  "  will  give  his 
walking-stick  a  coat  of  copal  varnish — 
that  is,  an  oil  varnish,  the  gum-resin 
of  which  is  copal — he  will  find  that  its 
durability  is  much  greater  than  French 
polish. 

Even  common  gum-resins,  when  com- 
bined with  oil  as  a  vehicle,  are  superior 
to  harder  gums  dissolved  in  turpentine 
or  spirit,  because  the  gum-resina  can 
never  become  quite  so  brittle  when  in 
company  with  an  oil  which  forms  of 
itself  a  tough  and  horny  coating,  fairly 
elastic  and  durable  at  ordinary  tem- 
peratures ;  whereas  spirit  which  evapo- 
rates entirely,  leaves  the  gum  to  get 
quite  bard  and  brittle. 

To  mend  a  stick,  of  which  the  horn 
handle  is  loose,  requires  glue,  and  a 
screw  having  a  thread  turned  through- 
out, or  at  both  ends.  It  would  be  as 
well  to  slightly  taper  the  horn  end 
and  the  wood  end,  and  have  a  metal 
ferrule  by  way  of  mount.  Be  sure  to 
bore  the  holes  deep  enough,  but  not  too 


large  in  diameter,  for  the  screw  to  enter 
well,  and  yet  to  hold. 

The  whole  should  be  fitted  together 
before  the  glue  is  applied,  and  when 
satisfactory,  hot  glue  copiously  applied, 
with  prompt  action  on  the  part  of  the 
operator,  in  order  to  fix  the  whole 
before  the  glue  has  had  time  to  set. 
Any  glued  joint  is  much  weakened  by 
being  disturbed  or  readjusted  after 
the  glue  has  set,  which  soon  happens 
if  the  room  is  not  warm.  It  is  also 
better  to  warm  the  materials  to  be 
united. — B.  A.  Baxter. 

Plested's  Patent  Plane  Iron,  Chisel 
and  Tool-sharpening  Machine. 
"A  Subscriber  from  the  Commence- 
ment" writes: — "I  enclose  a  sketch 
of  '  Plested's  Tool  Sharpener '  that  I 
purchased  lately.  I  can  strongly 
(5 


plested's  patent  tool-shakpener. 

recommend  it  to  your  readers ;  they 
will  find  it  very  useful,  and  when  a 
gap  is  made  in  a  plane  iron  or  chisel 
instead  of,  as  many  amateurs  do,  con- 
tinuing their  work  with  the  blunt  tool, 
they  will  remove  the  gap  in  a  few 
minutes  with  the  greatest  ease,  leaving 
a  good  cutting  edge.  I  fasten  the  tool- 
sharpener  to  my  vice  bench  with  a 
screw  clamp." 

[Messrs.  Booth  Brothers,  Upper 
Sttphen  Street,  Dublin,  supply  this 
machine,  price  Ss.  Gd.;  postage,  6d. 
extra.— Ed.] 

Compact  Folding  Chair. 
" Clericus  Secundus  "  writes  :  —  "A 
mistake,  which  deprives  the  sentence 
of  its  'point,'  occurs  on  page  493 
second  column,  line  16,  '  front  of  junc- 
tion' should  read  '  point  of  junction.' '" 


52 


AMATEURS  IN  COUNCIL. 


Adding  Pedals  to  Harmonium. 

"  A  New  Subsckibek." — I  know  quite 
well  the  charm  of  being  able  to  play 
at  home  the  music  you  hope  to  give  at 
the  church,  and  the  great  utility  of 
pedals  for  organ  practice.  Neverthe- 
less, the  fact  remains,  that  added 
pedals  to  a  harmonium  are  not  very 
satisfactory.  I  will  briefly  tell  why, 
and  then  if  you  say — write — I  will 
do  so. 

In  the  first  place,  the  harmonium  is 
an  expressive  instrument ;  the  feet  of  a 
real  harmonium  player  are  educated 
feet,  and  with  pedals  he  must  either 
entrust  the  blowing  to  a  second  person, 
or  he  must  blow  with  one  foot  an 
instrument  intended  to  be  blown  with 
both  feet,  while  the  other  foot  by 
playing  the  pedals  adds  bass  notes, 
which  tax  the  capacity  of  the  bellows, 
now  reduced  in  feeding  capacity. 

Then  there  is  the  knee  difficulty. 
You  are  doubtless  aware  that  in  an 
organ  the  pedals  are  several  inches 
underneath  the  keys  ;  I  mean  measuring 
from  the  front.  If  you  drop  a  plumb- 
line  from  the  front  of  the  manual  keys, 
you  will  find  that  the  sharps  of  the 
pedals  are  (from  the  player's  stool) 
beyond  the  plummet. 

Now,  in  a  harmonium,  the  player 
cannot  get  his  knees  under  the  manual 
keys  unless  the  harmonium  is  built  to 
order ;  consequently,  the  pedals  are 
about  6  inches  too  far  forward,  and 
therefore  too  much  under  the  stool ;  or 
else  the  player  must  extend  his  arms  in 
a  most  tiring  manner,  if  he  puts  the 
stool  in  the  correct  position  for  pedal 
playing. 

Still,  I  have  made  pedals  for  organ 
(for  myself),  :md  pedals  for  a,  piano 
(for  an  organist),  and  the  above 
objections  do  not  apply  to  the  piano ; 
though,  of  course,  a  more  sudden 
action  is  needed  to  elicit  a  note  from 
the  piano. — B.  A.  B. 

Handy  Substitute  for  Lathe-Planer. 

Buitannia  Co.  (Colchester). — 1.  The 
division  plate  may  be  kept  from  moving 
by  a  wedge  of  soft  wood  being  placed 
between  it  and  the  bed  of  the  lathe. 
It  would  not  require  fixing  very  tightly, 
as  the  motion  of  the  planer  is  at  right 
angles  to  the  mandrel. 

2.  The  work  is  held  in  the  slide  rest, 
as  in  Lukin's  planer. 

3  and  4  were  anticipated  and  referred 


to  in  the  article.  Now  and  then  there 
is  a  piece  of  work  that  cannot  be  faced 
in  the  lathe,  owing,  perhaps,  to  project- 
ing edges,  etc.  ;  and  this  is  where  the 
planer  comes  in  handy.  Of  course,  for 
amateurs  who  are  blessed  with  plenty 
of  this  world's  goods,  a  separate  planer 
is  all  that  could  be  desired  ;  but 
Amateur  Work  is  not  intended  for 
their  sole  benefit,  to  the  exclusion  of 
their   less   fortunate  brethren. — E.  E. 

TfiEBLA. 

Calico  Diagrams. 
"  E.P.C."  (Muswell  Hill).— These  are 
for  lecturing  purposes,  and  aim  at 
broad  effects  rather  than  accurate 
detail.  I  sized  the  calico  twice  with 
patent  size,  and  then  used  Aspinall's 
enamels.  The  diagrams  come  out 
splendidly,  with  the  sharpest  outline, 
and  enamelled  surface.  Drawbacks — 
it  is  very  difficult  so  to  stretch  the 
calico  while  sizing  as  that  it  6hall  not 
crinkle  here  and  there  ;  though  this  is 
not  much  noticed  at  a  little  distance. 
The  double  sizing  makes  the  calico 
somewhat  stiff,  and  not  so  portable  as 
I  could  wish ;  but  it  is  even  then  far 
more  portable  than  paper,  and  bears 
rouirh  handling.  Is  there  any  way  of 
preparing  the  calico  to  take  "  Aspinall," 
without  making  it  so  cardboard-like  as 
does  the  size  ? 

Camera  Bellows. 

S.  M.  Lloyd  (Canada). — It  is  advis- 
able to  have  a  thickness  of  black  twill 
as  a  lining  to  the  inside  of  camera 
bellows  when  made  of  leather,  as  the 
addition  of  this  material  will  not  onlj 
safeguard  any  pin-holes  or  thinness  in 
the  leather,  but  will  very  materially 
assist  in  the  retention  of  the  folds. — 
A.  A.  H. 

Crack  in  Flageolet. 

P.  B.  (Dalston).—  If  the  flageolet  is 
quite  free  from  grease  or  oil,  ordinary 
glue,  Scotch  for  choice,  will  do  well ; 
but  if,  as  is  most  likely  the  case,  the 
wood  has  been  oiled,  then  shellac  or 
marine-glue  will  be  the  best.  I  notice 
that  the  metal  band  will  prevent  exten- 
sion of  the  crack  ;  if  not,  I  should  have 
advised  a  band  for  that  purpose.  The 
shellac  can  be  used  like  sealing-wax,  or 
dissolved  in  spirit,  making  a  thick  var- 
nish. There  is  also  a  new  cement  sold 
for  mending  indiarubber  tyres,  etc., 
which  might  be  preferable  to  shellac, 
though      probably     not     superior     to 


marine-glue,  which  is  a  material  that 
has  stood  the  test  of  time.  Try  to 
avoid  unnecessary  moisture  in  your 
flageolet.  Beginners  at  all  wind  in- 
struments make  them  wet  to  a  greater 
degree  than  is  desirable.  If  you  use 
oil  to  the  interior  of  your  instrument, 
let,  it  be  very  little  at  each  application. 
B.  A.  Baxter. 

Enamel  Paint. 

G.Harter  (Cheltenham). — The  article 
in  this  Number,  entitled  "  How  to  Use 
Enamel  Paint,"  will  probably  help  you 
out  of  your  difficulty.  I  have  used  a 
good  deal  of  Aspinall's  Enamel  in  my 
own  work,  and  the  plan  that  I  adopt, 
with  invariable  success,  is  to  give  the 
wood  a  preparatory  coat  of  "  knotting," 
applied  thinly.  Upon  this  I  ean  get  a 
porcelain-like  surface.  Do  not  attempt 
to  get  the  effect  with  one  thick  coating 
of  enamel,  but  give  one  thin  coat,  and 
when  thoroughly  dry  apply  a  finishing 
coat.  I  find  that  the  easiest  colours  to 
use  are  "Vermilion"  and  "Hedge 
sparrow's  egg  tint," 

Bookbinding. 

"  BjEtep." — To  properly  round  the 
back  of  a  book  is  not  so  easy  a  matter 
as  many  think.  The  book  must  be 
-ewn  properly,  with  just  enough  swell- 
mgto  help  the  sheets  to  come  over 
without  undue  hammering.  Tour  diffi- 
culty is  evidently  due  to  want  of 
experience,  and  will  disappear  with 
practice. 

Mending  Cricket  Materials. 

' '  K,ETJ:r  "  asks : — "  Oan  any  reader 
iive  me  instructions  in  mending  cricket 
materials,  particularly  in  pegging  bats  ? 
Now  is  the  time  for  doing  repaii> 
for  next  season." 

[I  am  open  to  receive  a  paper  on  this 
subject  from  a  practical  man. — Ed.] 


BEIEF    REPLIES. 

S.  M.  Lloyd.—"  Old  Hand  "  has 
promised  to  let  me  have  his  paper  on 
"  Hand  Cameras  "  at  an  early  date. 

"D.  G.  K."  (Bombay  Presidency). — I 
have  arranged  with  a  writer  on  my  staff 
for  a  paper  on  production  of  micro- 
photographs. 

LETTERS  RECEIVED  UP  TO  NOV.  12. 

Jas.  Scott  ;  H.  B. ;  J.  A. ;  Bronchi-  ; 
Electron  ;  G-.  J, ;  P.  Bennett  ;  R. 
Taylor  ;  R.  K. ;  Lighthouse. 


A   MODEL   FORCE   PUMP. 


53 


A  MODEL  FORCE   PUMP. 


By  ELECTRO X. 


HIS  pump  will  be  found  of  a  suitable 
size  for  a  horizontal  engine  from  \h 
inches  to  2  inches  bore ;  for  a  larger 
engine  the  sizes  should  be  proportionately 
increased.  Fig.  1  is  a  side  sectional  view,  Fig. 
2  a  cross  section,  and  Fig.  3  a  plan ;  each  are 
drawn  full  size.  The  pump  is  intended  to  be 
worked  from  an  eccentric  sheave  on  the  engine 
shaft. 


a  mandrel,  and  turn  the  outside  of  the  stuffing 
box ;  the  remainder  of  the  barrel  and  the 
pedestal  will  be  finished  with  the  file.  The 
height  to  centre  of  pump  barrel  from  the  bed- 
plate, should  be  the  same  as  the  engine  shaft  is 
from  the  bed-plate. 

The  valve  box  is  cast 
hollow,  with  a  boss  on 
the  bottom  side  for  the 
suction      pipe     to     be 


FIC.2.  Cross Scctmn 


All 'draw"1 7;  full  Size  f  ic  .1-  Sideseclion  of  Pump 


The  castings  are  of  brass,  and  are  seven  iu 
number,  viz.,  working  barrel,  gland,  valve  box, 
back  cover,  cover  for  top  valve,  and  two  valves. 
The  working  barrel  will  be  easier  to  bore  if  cast 
solid.  The  valve  box  is  cored  out ;  and  the 
Valves  should  have  a  piece,  not  less  than  1  inch 
long,  cast  on  the  top  end,  to  fix  the  carrier  on 
while  turning  them.  The  lower  end  of  the 
working  barrel  is  flanged  out  to  form  a  cover 
for  one  side  of  the  valve  box ;  this  should  be 
filed  or  turned  true,  and  then  fixed  in  a  four- 
jawed  chuck,  or  bolted  to  a  face-plate,  with  the 
barrel  truly  central;  the  barrel  can  then  be 
bored  by  fixing  a  drill  against  the  loose  head- 
stock,  and  holding  it  with  a  screw  wrench  while 
the  barrel  is  revolved.  The  stuffing  box  should 
be  bored  first,  and  the  barrel  afterwards,  in 
order  to  keep  them  true  ;  then  fix  the  barrel  on 

Vol.  HI.  (New  Series).— Part  26. 


F I C •  3 .  Plan  View  of  Pump 

screwed  into ;  it  must  be  faced  level  on  both 
sides,  and  holes  drilled  at  the  top  and  bottom 
for  the  two  valves.  The  valves  must  be  turned 
till  they  fit  the  holes  drilled  in  valve  box,  the 
valve  seat  must  be  made  to  an  angle  of  about 
45° ;  the  top  side  is  turned  smooth,  and  the 
valves  are  ground  down  into  their  seats  with 
fine  emery  powder  and  water,  till  quite  air-tight, 
the  piece  cast  on  the  top  being  left  on  till  tbey 
are  ground  in ;  it  can  then  be  cut  off.  The 
holes  for  the  valves  should  be  slightly  counter- 
sunk on  the  top,  before  grinding  the  valves 
in.  The  back  cover  for  the  valve  box  is  faced 
level,  and  is  fixed  to  the  valve  box  by  four 
screws. 

F 


54 


HINTS   ON  CARPET  AND  FLOOR-CLOTH  LA  YING. 


The  cover  for  the  top  valve  is  bored  as  shown, 
and  tapped  for  the  delivery  pipe  ;  it  can  he 
finished  in  the  lathe,  and  is  fixed  by  four  screws 
to  the  top  of  the  valve  box. 

The  gland  for  the  working  barrel  must  be 
bored  the  same  size,  and  the  outside  must  he 
turned  ;  it  is  fixed  by  three  screws  to  the  flange 
on  stuffing  box. 

The  ram  is  made  of  wrought  iron  or  steel, 
and  must  be  turned  an  exact  fit  for  the  working 
barrel ;  the  end  is  filed  down  as  shown,  to  fit 
the  double  end  of  the  rod  for  workiug  it ;  a  hole 
is  drilled  in  it,  and  the  two  are  fixed  together 
by  a  pin  and  cotter. 

Holes  are  drilled  in  the  bed-plate  of  the 
pedestal,  hy  -which  it  is  screwed  to  the  engine 
bed-plate  by  small  bolts.  In  order  to  prevent 
the  valves  being  lifted  too  high,  a  piece  of 
strong  brass  wire  should  he  fixed  across  the 
valve  box ;  these  can  be  fitted  into  grooves 
at  each  end,  and  soldered. 

The  joints  of  the  two  covers  of  valve  hox, 
and  the  cover  for  top  valve,  must  he  made  with 
red  and  white  lead  mixed  to  a  paste,  and  the 
joint  screwed  up  tight ;  the  stuffing  hox  must 
be  packed  with  soft  cotton,  oiled,  and  screwed 
up  tight.  A  length  of  brass  pipe  must  be 
screwed  into  the  top  and  bottom  of  the  valve 
box,  for  suction  and  delivery  pipes. 

If  the  ram  be  now  worked,  it  will  pump  water, 
provided  that  the  fitting  has  been  done  rightly, 
and  the  joints  are  all  tight.  A  little  water  may 
be  poured  down  the  delivery  pipe,  if  the  pump 
does  not  start  well  at  first,  which  will  set  it 
going.  The  stroke  should  not  be  more  than 
one  inch,  unless  the  barrel  is  made  longer  than 
the  drawing. 


To  make  Waterproof  Writing  Ink,  an  ink 
which  will  not  blur  if  the  writing  is  exposed  to 
rain,  dissolve  2  ounces  shellac  in  1  pint  alcohol 
(95  per  cent.),  filter  through  chalk,  and  mix  with 
best  lampblack. 

To  Coat  Tin  Dishm  to  withstand  the  action 
of  chemicals  used  in  developing  and  toning 
photos,  use  a  quick-drying  asphalt  varnish,  as 
that  for  bicycles. 


HINTS  ON   CARPET  AND  FLOOR- 
CLOTH LAYING. 

By  AN  AMATEUR. 


XPEEIENCE  teaches  fools!"  So 
runs  the  well-known  proverb ;  but 
it  is  equally  true  that  it  teaches 
many  who  would  feel  highly  insulted  were  you 
to  class  them  as  such.  The  writer's  recent  ex- 
perience in  laying  the  floor  coverings  in  his  own 
house,  may  he  found  of  some  value  to  others 
who  have  a  like  prospect  before  them,  and  for 
that  purpose  is  being  put  on  paper  as  plainly 
as  possible. 

The  house  consisted  of  two  rooms,  kitchen, 
and  lobhy ;  and  as  the  bedroom  was  the  simplest 
to  begin  with,  I  commenced  in  it.  Both  it  and 
the  parlour  I  wanted  covered  with  a  carpet  of 
such  a  size  as  to  leave  a  margin  round  of  oak 
plank  wax-cloth,  imitating  an  oak  border.  This 
I  consider  a  much  better  plan  than  taking  the 
carpet  right  into  the  wall ;  one  reason  for  so 
thinking  is  that  it  enables  the  corners  to  be  more 
easily  cleaned  out,  and  the  carpet  is  very  much 
more  easily  lifted  to  be  shaken.  Then,  again, 
this  is  the  only  way  that  a  bordered  carpet  can 
be  seen  to  any  advantage,  for  the  furniture 
ranged  round  the  walls  does  not  then  com- 
pletely cover  up  the  carpet  border.  An  important 
fact,  too,  in  this  method  of  leaving  a  margin  is 
that,  as  a  rule,  it  rather  lessens  the  cost  than 
otherwise  ;  and  those  of  us  who  are  not  burdened 
with  too  many  "yellow  boys,"  must  pay  par- 
ticular attention  to  the  cash  aspect  of  the 
question.  Eor  example,  the  carpet  may  cost 
from  2s.  6d.  to  5s.,  or  even  more,  per  square 
yard,  and  the  wax-cloth  border  from  Is.  to  2s. 
per  square  yard.  In  my  parlour  the  difference 
amounted  to  about  28s.  ;  so  when  a  better  artistic 
effect  is  produced  with  less  expenditure  of  hard 
cash,  though  with  perhaps  a  little  extra  trouble, 
there  is  no  reason  whatever  why  everyone  should 
not  adopt  this  plan. 

As  I  have  already  said,  I  started  in  the  bed- 
room. The  carpet  chosen  was  a  seamless  one — 
one  of  those  art  squares  which  are  so  well  known 
now  under  various  names  in  .different  parts  of 
the  country — such   as    "Windsor,"    "Kidder- 


HINTS   ON  CARPET  AND  FLOOR-CLOTH  LAYING. 


55 


minster,"  or  "  Kensington  "  art  squares.  They 
are  to  be  had  in  various  qualities,  and  in  an 
immense  variety  of  design,  and  should  be  got  of 
such  a  size  as  to  leave  a  margin  of  about  1 8 
inches  all  round  the  room,  to  be  filled  up  with 
wax-cloth.  Of  course,  this  margin  may  be  varied 
to  suit  circumstances  ;  as,  for  instance,  my  bed- 
room was  long  and  narrow,  15  feet  by  8  feet,  so 
I  left  a  margin  at  the  sides  of  12  inches,  and  at 
each  end  of  30  inches,  thereby  making  the  floor 
look  better,  by  far,  than  if  an  equal  margin  were 
formed  all  round.  Such  things  must  always  be 
considered  and  decided  upon  according  to  the 
circumstances  of  the  case. 

The  size  of  the  carpet  being  determined,  the 
wax-cloth  border  should  be  got  of  the  necessary 
dimensions.  If  I  give  here  a  sketch  plan  of  the 
room,  it  will  be  much  more  readily  understood 
how  I  proceeded :  so  Fig.  1  shows  the  floor 
drawn  to  the  scale  given.  To  get  the  dimensions 
of  the  wax-cloth  border,  3  inches  must  be 
allowed  for  going  underneath  the  edge  of  the 
carpet,  so  that  where  the  margins  are  1 2  inches 
and  30  inches  wide,  the  wax-cloth  is  15  inches 
and  33  inches  wide,  respectively.  The  length  of 
each  piece  must,  of  course,  be  the  length  of  the 
sides  of  the  room — in  this  case  15  feet  and  8 
feet,  two  pieces  of  each  length.  This  is  necessary 
to  enable  the  border  to  be  mitred  at  the  corners, 
as  oak  planks  ought  to  be  ;  but  I  may  here  say 
that  if  an  ordinary  pattern  of  wax-cloth  be  used 
for  this  margin,  it  is  unnecessary  to  mitre  the 
corners  ;  square  butt  joints  will  be  quite  suffi- 
cient. Another  point  about  the  mitreing  is  this  : 
that  when  the  two  adjoining  pieces  are  not  of 
the  same  breadth,  the  mitre  should  not  go  from 
corner  to  corner  of  each  piece  (as  sketched  in 
Fig.  2),  but  should  follow  the  proper  square 
mitre  angle,  that  of  45°,  starting  from  the 
innermost  corner,  or  that  next  the  carpet,  as 
shown  in.  Fig.  1 .  In  one  of  the  walls  the  fire- 
place occurs,  and  the  margin  must  be  stopped  at 
each  side  of  the  hearthstone. 

In  my  room  the  window  occupied  nearly  all 
the  one  end  of  the  room,  so  I  decided  to  carry 
the  margin  right  into  it,  instead  of  adding  a 
piece  to  fill  in  the  window  space,  as  is  often 
done.  Then  here  is  a  little  thing  I  quite  over- 
looked, and  which  has  resulted  in  an  extra  join, 


which  is  always  a  nuisance.  An  allowance 
should  be  made  for  the  margin  going  underneath 
the  door  about  3  inches.  I  did  not  think  of  it, 
and  after  all  was  finished  I  found  I  had  to  put 
down  a  little  strip,  and  tack  the  edges  of  both 
pieces.  Such  a  thing  is  so  objectionable,  that  I 
should  certainly  never  lay  a  margin  again  with- 
out making  certain  that  the  door  opening  was 
provided  for. 

After  having  the  pieces  all  ready,  the  next 
thing  is  to  lay  them.  To  do  this,  I  started  with 
one  piece  8  feet  long  by  33  inches  wide,  laying 
it  down  on  the  floor  all  its  length  in  front  of  the 
window.     By  rolling  up  each  end  a  little  bit,  I 
got  it  placed  close  up  to  the  window  breast ;  it 
was  then  a  simple  matter  to  squeeze  it  into  the 
corner  and  along  the  bevelled  side  of  the  window. 
A  sharp  knife  cuts  the  wax-cloth  just  along  the 
crease  so  made,  and  the  stuff  then  lies  as  skown 
in  sketch  (Fig.  3).    Press  it  hard  into  the  corner 
formed  by  the  floor  and  the  skirting-board,  and 
again  cut  it  along  the  crease,  as  shown  by  dotted 
line  in  same  Fig.,  and  you  have  the  whole  corner 
lying  quite  flat.  This  I  found  to  be  the  best  and 
easiest  way  of  shaping  the  wax-cloth  for  these 
corners  ;  but  for  the  sake  of  showing  how  it  may 
be  otherwise  performed,  I  may  mention  some  of 
the  methods  I  tried.     First,  then,  I  tried  taking 
a  paper   template    of    the    corner — pressing   a 
smooth  sheet  of  brown  paper  into  the  corners, 
and  cutting  it  out,  then  applying  it  to  the  place 
to  see  if  it  fitted  accurately,  and  then  laying  it 
on  the  wax-cloth,  and  cutting  it  out  exactly  as 
to  pattern.     Another  way  was  to  measure  with 
a  rule  all  the  different  points  and  sizes  from 
corner  to  corner,  and  mark  them  off  with  chalk 
on  the  wax-cloth,  and  then  cut  out.     Either  of 
these  methods  could  be  employed  when  the  wax- 
cloth was  thick  and  rather  stiff  to  press  into  the 
corners   itself ;    and   of   the   two   methods,   the 
paper-shape  one  is  the  least  likely  to  cause  a 
mistake  in  the  cutting. 

The  corners  are  yet  to  mitre.  To  do  this,  lay 
one  of  the  side  pieces  in  its  place,  and  overlap- 
ping the  piece  already  laid  at  the  corner.  With 
a  sharp  knife  cut  the  diagonal  line  through  both 
thicknesses  of  wax-cloth,  then  lift  the  two  odd  bits 
thus  formed,  and  the  mitre  will  be  found  to  be 
exactly  correct,  and  as  neat  as  it  is  possible  for 


56 


HINTS  ON  CARPET  AND  FLOOR-CLOTH  LAYING. 


it  to  be.  All  the  mitres  are  cut  in  the  same  way. 
It  is  best,  however,  to  have  all  the  fitting  done 
to  the  various  pieces  before  cutting  the  mitres  ; 
in  fact,  that  is  absolutely  necessary.  When 
everything  is  arranged  all  round  the  four  sides 
of  the  room,  the  mitres  may  then  be  all  cut 
without  any  danger  of  anything  going  wrong.  A 
few  common  carpet  tacks,  or  ordinary  cut  tacks, 
should  be  put  in  all  round  the  room,  close  to 


E 


-\ 


LL 


FIC.  I. 


"5 -J 

J 

. 

1 

£ 

£ 

•^ 

1 

<-> 

1 

1 

c  - 

U£ 


the  skirting-board,  to  keep  all  in  position ;  across 
the  door  opening  the  tacks  should  be  nailed 
firmly  down  at  about  every  6  inches  apart.  The 
carpet  is  then  laid  down  with  brass-headed 
carpet  studs,  taking  care  to  have  it  well  stretched, 
so  that  it  will  be  flat  on  the  floor.  Frequently 
the  hearth  projects  so  much  that  the  carpet 
requires  to  be  cut  and  folded  back  ;  the  hearth- 
rug, when  placed  in  its  position,  will  cover  up 
the  fold  of  the  carpet. 

A  layer  of  carpet  felt,  which  costs  about  Is. 
per  square  yard,  if  laid  below  the  carpet,  will 
equalise  the  wear,  and  at  the  same  time  make  a 
softer  carpet  to  the  tread.     The  felt  which  is  a 


soft  woollen  stuff  is  the  best  for  the  purpose, 
although  it  is  also  the  dearest.  Cedar  felt  is 
often  recommended,  and  various  kinds  of  brown 
paper ;  but  these  are  naturally  harder  to  the 
touch,  and  do  not  act  in  the  same  kindly  way  to 


FIC.  2. 


FIC. 3. 


the  carpet.  It  is  said  that  with  the  woollen  felt 
underneath  a  carpet,  it  will  wear  double  the 
length  of  time  that  it  would  without  any  such 
thing. 


Door 


_7 


fic. a- 


~s 


A 


t. 


i 


n. 


The  next  floor  I  turned  my  attention  to  was 
that  of  the  parlour.  It  was  about  15  feet  long  by 
12  feet  3  inches  wide,  and  I  wanted  a  margin  of 


about  15  or  18  inches  all  round  it.     Brussels 
carpet  is  made  of  what  is  called  f  width,  or  27 


HIXTS   OJV  CARPET  AND  FLOOR-CLOTH  LAYLNG. 


57 


inches,  and  the  border  is  usually  1 8  inches  wide. 
In  order  to  have  as  little  waste  as  possible,  I 
ordered  the  carpet  9  feet  9  inches  -wide,  so  that 
three  widths  at  2  feet  3  inches,  and  two  borders 
at  18  inches  each,  made  up  the  exact  size;  this 
left  a  margin  of  15  inches  on  each  side,  and  as 
the  wax-cloth  requires  to  be  3  inches  wider  than 
the  actual  space  shown,  an  18-inch  piece  was 
required.  The  margin  at  the  other  sides  of  the 
room  I  made  the  same  breadth  ;  but  the  window 
opening  being  on  one  of  these  two  sides,  it 
required  a  length  30  inches  wide  in  place  of  18 
inches,  so  that  there  would  not  be  any  join  at 
the  window  piece.  The  portions  cut  out  are  sure 
to  come  in  useful  for  something  or  other,  as,  for 
instance,  in  covering  the  floor  of  a  press.  Then, 
on  the  other  piece  I  had  to  mate  allowance  for 
it  to  go  underneath  two  doors,  so  I  had  it  21 
inches  broad.  Laying  each  down  in  position,  I 
cut  the  pieces  out  to  fit  into  the  window  recess, 
and  to  go  under  the  doors,  and  cut  out  the  piece 
where  the  hearth  occurs,  cut  the  mitres  as  be- 
fore, and  fastened  all  the  pieces  in  position  with 
tacks.  The  bordered  Brussels  carpet  was  diffi- 
cult to  lay ;  it  required  a  great  amount  of  pull- 
ing and  nailing  down,  and  lifting  and  nailing 
again.  Brass  carpet  studs,  about  9  inches  apart 
all  round  the  edge,  improve  the  appearance 
greatly ;  and  the  cut  tacks  should  be  only  partly 
driven  in  when  stretching  the  carpet,  and  be 
all  taken  out  again  after  the  brass  studs  are 
inserted. 

One  thing  more  about  these  margins  is  this : 
if  the  skirting  will  allow  of  it,  it  is  certainly 
best  to  put  the  wax-cloth  in  underneath  the 
skirting-board,  as  a  much  neater  appearance  is 
obtained  thereby,  as  well  as  at  the  same  time 
being  very  much  more  expeditiously  laid,  if 
there  be  any  irregularity  in  the  line  of  the  wall. 
Then  the  blocks  to  the  door  architraves  are  some- 
times clear  of  the  floor,  in  which  case  by  putting 
the  wax-cloth  underneath,  the  best  results  are 
obtained,  and  least  time  spent  in  execution. 

The  next  floor  to  receive  attention  was  that  of 
the  lobby.  Its  size  is  about  10  feet  long  by  7 
feet  wide.  I  thought,  first  of  all,  of  having  a 
plain  centre  and  a  border  all  round  ;  but  on  con- 
sideration I  was  afraid  such  a  treatment  would 
tend  to  make  the  lobby  look  smaller  than  it  was, 


and  that  it  should  be  made  to  look  larger  if 
possible,  was  what  should  be  attempted  ;  so  I 
concluded  that  I  was  most  likely  to  attain  this 
end  by  using  a  small  pattern  of  linoleum,  and 
laying  it  from  wall  to  wall.  As  there  were  seven 
doors  entering  off  the  lobby,  and  I  wanted  the 
floor  covering  all  in  one  piece,  I  had  to  allow  6 
inches  extra  on  each  of  the  sides  all  round.  In 
Fig.  4  I  show  a  plan  of  the  lobby  to  the  same 
scale  as  Fig.  1 .  As  I  have  already  stated,  the 
lobby  measures  10  feet  by  7  feet,  and  to  allow 
for  the  doors  I  got  the  stuff  11  feet  by  8  feet. 
In  laying  it,  I  decided  to  put  it  down  on 
the  floor,  and  cut  it  at  the  corners  as  it  needed. 
Of  course,  another  plan  would  be  to  cut  it  all 
out  to  the  figured  measurements  of  the  lobby  • 
but  as  already  mentioned,  regarding  the  wax- 
cloth surrounds  or  margins  in  the  bedroom, 
there  is  some  difficulty  in  doing  this  correctly, 
and  without  any  mistakes  ;  so  I  think  the  best 
plan  is  to  lay  the  linoleum  in  its  place  as  nearly 
as  you  can,  and  fit  it. 

As  it  was  impossible  to  get  it  to  roll  out  on 
the  floor  in  any  but  a  diagonal  manner,  I  curled 
it  up  from  the  one  corner,  as  in  Fig.  5,  and 
pushed  it  into  the  outer  door,  cutting  it  exactly 
the  right  sizes  to  fit  into  the  doorways.  After 
that  part  is  finished,  the  rest  of  the  linoleum  is 
spread  out,  and  each  part  cut  as  required ;  if 
possible,  it  is  best  to  put  the  linoleum  under- 
neath  the  skirting-board  and  the  blocks  of  the 
architraves,  for  a  neater  result  is  thereby 
attained  at  the  minimum  of  labour. 

The  kitchen  linoleum  was  selected  of  a  different 
pattern  from  the  lobby,  but  of  a  similar  colour- 
ing, not  to  make  the  contrast  too  great,  and  yet 
to  have  variety.  I  had  to  lay  it  diagonally  on 
the  floor,  in  the  same  way  as  I  laid  the  lobby 
covering  ;  but  being  a  good  deal  larger,  it  was 
correspondingly  heavier,  and  not  nearly  so  easily 
managed.  As  the  kitchen  was  pretty  square — 
i.e.,  with  no  recesses  about  it  except  the  bedstead 
recess — there  was  not  much  difficulty  in  laying  the 
linoleum.  One  thing  I  had  to  do,  however,  after 
it  was  laid,  and  that  was  to  put  a  piece  about 
6  inches  broad  along  the  front  of  the  bedstead 
recess.  Strictly  speaking,  all  the  floor  under 
the  bed  ought  to  be  covered ;  but  for  economy's 
sake  I  omitted  to  do  so,  and  then  I  found  I  had 


58 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


to  do  it  partly  after  all.  The  curt  am  along  the 
front  of  the  bed  hanging  in  folds  left  the  floor 
exposed  here  and  there,  so  that,  to  remedy  the 
defect,  the  floor-cloth  should  be  taken  a  few- 
inches  underneath  the  edge  of  the  curtain. 

The  cuttings  are  useful  in  other  ways ;  for 
instance,  in  covering  the  bottoms  of  presses, 
or  closets ;  and  then,  you  know,  some  parts 
wear  more  than  others,  and  require  to  be 
renewed.  Though  not  the  only  benefit  one 
derives  from  doing  such  work  themselves,  having 
the  cuttings  left  is  an  important  one  in  its  way, 
and  may  save  expense  again.  It  is  this  saving  of 
expense  that  is  such  an  important  factor  in 
human  happiness  where  incomes  are  not  as  large 
as  they  are  wanted  to  be  ;  for,  as  has  been  said, 
if  on  an  income  of  20s.  per  week  you  spend 
19s.  6d.,  you  may  be  quite  happy;  but  if  on 
the  same  income  you  spend  20s.  6d.  per  week, 
the  result  is  misery.  Better  save,  then,  when  and 
where  you  can ;  for  instance,  in  doing  a  little 
piece  of  work  such  as  has  been  described  here, 
instead  of  paying  someone  else  to  do  it. 


HINTS   ON    HOUSE    DECORATION 
BY  PHOTOGRAPHY. 

By  R.  A.  R.  BENNETT,  B.A.,  President  Photographic 
Section,  Oxford  Natural  History  Society. 


I.— Selection  of  Negatives— Opalines  for  Ornament- 
ing a  Table— A  Chess  -  board — Door-panels— 
Transparencies  and  their  Production— Method 
of  Mounting. 

£]HE  internal  decoration  of  the  houses 
in  which  we  live,  is  a  department  of 
architectural  work  generally  entrusted 
to  the  painter  or  professional  house  decorator ; 
few  amateurs  having  sufficient  experience  or 
skill  to  attempt  it  on  their  own  account.  But 
without  aspiring  to  decoration  on  a  large  scale, 
there  are  several  minor  details  in  which  the 
amateur  may  supplement  the  work  of  the  pro- 
fessional, and  give  additional  beauty  to  various 
parts  of  his  house  ;  this  work  having  the  special 
advantage  that  the  results  thereof  can  always 
be  exhibited  to  admiring  friends  as  his  own 
handiwork,  and  thus  gain  the  meed  of  praise 
which  is  the  result  of  his  toil. 


Now,  it  would  be  of  no  use  for  anyone  with  no 
notion  of  art,  to  set  to  work  to  decorate  the 
house,  and  if  he  did  so  he  would  probably  pro- 
duce effects  anything  but  satisfactory  to  a  critical 
beholder ;  but  anyone  who  is  an  amateur  photo- 
grapher can  do  a  good  deal  in  that  way  without 
having  much  knowledge  of  art  principles, 
though  of  course  the  more  he  has,  the  more 
satisfactory  his  work  is  likely  to  be.  I  propose, 
therefore,  to  give  a  few  hints  as  to  how  to 
beautify  furniture  and  "fixtures,"  such  as  doors, 
windows,  etc. ;  the  suggestions  thus  given  being 
capable  of  almost  indefinite  expansion,  according 
to  the  skill  of  the  reader,  and  the  fluency  with 
which  ideas  suggest  themselves  to  him. 

Before  we  begin  to  think  what  we  can  do  in 
this  line,  we  must  go  to  our  stock  of  negatives, 
and  pick  out  those  which  will  be  likely  to  give 
the  best  results.  It  is  of  no  use  to  exhibit 
unsatisfactory  results  in  as  open  a  manner  as 
possible,  and  therefore  if  the  worker  is  to  be 
proud  of  his  work,  he  must  have  good  negatives 
with  which  to  produce  it. 

There  are  many  processes  by  which  exceed- 
ingly good  effects  may  be  obtained,  to  add 
variety  to  the  prints  contained  in  our  albums ; 
but,  first  of  all,  we  will  see  what  can  be  done  by 
the  use  of  ordinary  silver  prints.  The  process 
of  cementing  photos  to  the  back  of  glass  plates 
has  come  much  into  favour  lately ;  these 
generally  go  by  the  name  of  "Opalines."  If 
my  reader  wishes  to  try  this  process  in  its  simple 
form,  he  can  get  glasses  especially  made  for  the 
purpose,  from  Messrs.  Percy  Lund  and  Co.,  St. 
John's  Street,  Bradford,  Torks,  who  were,  I 
believe,  the  first  to  introduce  them.  The  bevel- 
edged  glasses  with  spring  frames  and  supports, 
sold  in  the  fancy  shops,  will  also  answer  well, 
and  are  very  cheap.  This  way  of  mounting 
photographic  prints  adds  much  to  their  depth 
and  beauty  of  detail.  It  is  accomplished 
by  mounting  the  print  in  "optical  contact" 
with  the  glass,  by  means  of  a  warm  solu- 
tion of  gelatine.  About  2  ounces  of  soluble 
gelatine  is  soaked  in  cold  water  till  soft,  and 
enough  boiling  water  is  added  to  make  a  rather 
thick  solution.  When  the  gelatine  is  dissolved, 
filter  it  through  muslin  into  a  clean  glass  or 
porcelain  dish  standing  in  a  hot  water  bath,  so 


HINTS  ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


59 


that  the  temperature  may  be  kept  at  about  100° 
Fahrenheit.  It  must  not  be  heated  by  a  spirit 
lamp  underneath,  or  portions  may  get  burnt, 
which  would  spoil  the  solution.  See  that  the 
glasses  are  thoroughly  clean.  Have  the 
glasses  and  the  prints  ready  to  your  hand, 
and,  taking  the  first  print,  put  it  into  the 
gelatine  with  the  right  hand,  and  take  a  glass 
in  the  left;  as  soon  as  the  print  is  tho- 
roughly permeated  by  the  gelatine,  lift  it  out, 
place  it  face  downwards  on  the  glass,  and 
firmly  "  squeegee  "  it  to  remove  all  superfluous 
gelatine  between  it  and  the  glass.  If  the  print 
is  a  very  soft  one,  use  a  rubber  cloth  between  it 
and  the  squeegee;  when  the  gelatine  is  per- 
fectly dry  the  print  can  easily  be  trimmed  with 
a  sharp  knife  to  the  exact  size  of  the  glass  on 
which  it  is  mounted.  If  only  a  few  prints  are 
to  be  mounted,  it  sometimes  saves  trouble  to 
immerse  glass  and  all  in  the  gelatine,  and  take 
print  and  glass  out  together.  This  is  less  likely 
to  cause  air-bubbles,  which  are  the  grand  diffi- 
culty of  this  process,  and  on  his  skill  in  getting 
rid  of  which  depends  the  success  of  the  mounter. 
Now  for  the  application  of  this  process : 
supposing  we  have  an  ordinary  circular  table  of 
plain  wood,  and  wish  to  ornament  the  top  of  it, 
we  can  cut  several  pieces  of  glass  with  a  diamond 
to  the  shape  of  Fig.  1 ;  all  these  fitted  together 
will  obviously  form  a  circle,  and  they  must  be 
cut  to  such  a  size  as  to  exactly  cover  the  top  of 
the  table.  Behind  these  pieces  of  glass  are 
mounted  views,  portraits,  etc.,  in  the  manner 
just  described,  and  the  prints  trimmed  to  the 
shape  with  a  sharp  penknife  when  dry.  When 
fitted  together  the  result,  if  well  managed,  is 
extremely  good.  A  circular  glass  and  picture  can 
form  the  centre,  if  desired  ;  or  if  cut  triangular 
shape,  they willfillupthecentrethemselves.  When 
the  glasses  are  fastened  on,  a  circular  rim  of  wood 
or  metal  can  be  fixed  on,  to  hide  the  edges  of  the 
glass.  Fig.  2  gives  an  idea  of  the  general  effect 
when  finished.  This  same  idea  is  applicable  to 
all  manner  of  objects;  for  example,  the  flat 
wooden  ornamental  tea-trays,  sold  in  the  shops, 
may  have  their  bottoms  covered  with  opalines. 
In  a  paper  by  Mr.  W.  E.  Woodbury,  in  the 
Amateur  Photographer,  I  have  seen  a  description  of 
a  chess-board  made  with  ordinary  prints,  thirty- 


two  of  which  are  required,  the  size  of  the  square 
of  the  board  to  be  covered  ;  they  are  then  stuck 
on  over  the  black  squares  (leaving  the  white 
squares  plain),  and  given  several  coats  of  varnish 
to  protect  them.  The  constant  moving  of  the 
chess  or  draughts  men  has,  however,  a  tendency 
to  wear  out  the  prints,  for  which  reason  a  table 
made  with  opalines,  as  before  described,  the 
photos  being  squeegeed  on  to  a  sheet  of  glass 
the  right  size  for  a  chess-board,  and  afterwards 
backed  with  light  paper  to  show  through  the 
white  squares,  and  mounted  on  a  square  wooden 
table,  gives  a  better  effect,  and  is  more  lasting. 

A  very  large  number  of  objects  may  be 
decorated  in  the  same  way ;  for  example,  the 
top  of  an  ordinary  door  may  be  treated  thus,  by 
inserting  opalines,  or  ordinary  prints  well  var- 
nished, into  a  frame  in  the  panel.  This  can  be 
extended  all  down  the  panel,  if  wished,  and  the 
effect  is  very  good.  Fig.  3  shows  the  method  of 
doing  this. 

A  much  more  ornamental  process,  and  one 
that  lends  itself  to  all  manner  of  adaptations,  is 
that  of  making  photographic  transparencies, 
which  are  afterwards  used  for  decorative  pur- 
poses. Transparencies  can  be  made  on  ordinary 
dry  plates,  and  it  is  a  very  good  method  of 
utilising  old  plates,  which  often  give  good 
results  when  unfit  for  producing  negatives, 
owing  to  being  subjected  to  damp,  etc.  Much 
better  results  are,  however,  obtained  by  using 
plates  specially  sensitized  with  emulsion  suitable 
for  lantern  slides.  Plates  thus  coated  with 
lantern  slide  emulsion  are  sold  by  some  dealers, 
e.g.,  Messrs.  P.  W.  Thomas  and  Co.,  10,  Pall 
Mall,  S.W.,  who  sell  them  at  the  same  prices  as 
their  extra  rapid  plates  ("  Pall  Mall.")  With 
these  really  beautiful  results  can  easily  be 
obtained.  The  method  of  procedure  simply  con- 
sists in  placing  a  plate  in  a  printing  frame  with 
a  negative,  film  to  film,  and  exposing  it  to  the 
flame  of  a  candle  or  gas  lamp  for  a  number  of 
seconds  corresponding  to  the  density  of  the 
negative  and  its  distance  from  the  flame.  A  few 
trials  will  soon  show  the  best  method  of  work- 
ing, and  any  little  error  in  exposing  can  be  made 
up  by  skilful  manipulation  in  development.  Of 
course  the  plate  is  inserted  in  the  frame  by  ruby 
light,  and  removed  from  it  also  in  the  same.    It 


60 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


is  usually  developed  by  the  ferrous  oxalate  or 
hydroquinone  developer,  as  these  give  quite 
black  tones,  and  not  yellow,  as  given  by  the 
pyrogallic  acid  developer.  The  former  is  made 
by  mixing  1  part  of  saturated  solution  of  sul- 
phate of  iron  {i.e.,  a  solution  containing  as  much 
of  the  salt  as  the  water — hot— will  take  up  on 
being  left  to  get  cold).  This  can  be  roughly 
made  by  putting  a  pound  of  oxalate  of  potash 


: 

\ 

well  in  my  hands,  though  some  people  consider 
it  very  strong.  It  is  given  by  the  makers  with 
Thomas's  plates. 

A.  Hydroquinone,  160  grains;  sodium  sul- 
phite, 2  ounces;  citric  acid,  60  grains;  potassium 
bromide,  40  grains ;  water,  to  20  ounces  (fluid). 

B.  Sodium  hydrate,  160  grains;  water,  to  20 
ounces  (fluid). 

For  use  mix  equal  parts.  If  the  picture  is 
over-exposed,  you  can  add  a  few  drops  of 
saturated  solution  of  potassium  bromide,  to  keep 


fic.  3. 


FIG.  I. — SHAPE  OF  OPALINE  FOR  COVERING  TABLE.  FIG.  3. — DOOR  ORNAMENTED  WITH  PHOTOGRAPHS.  FIG.  4.— SECTIONAL 
DRAWING  OF  TRANSPARENCY  MOUNTED  ON  STAND  ;  THE  SHADED  PORTION  REPRESENTS  THE  SUPPORT  OF  FRETWORK 
OR  CARVING  ;  A,  FRAME  CONTAINING  TRANSPARENCY  ;  B,  WOOD  BOTTOM  COVERED  WITH  WHITE  PAPER. 


into  a  pint  bottle,  and  filling  up  with  hot 
water,  and  5  parts  of  saturated  solution  of 
oxalate  of  potash,  made  in  a  similar  manner. 
The  iron  is  added  to  the  potash ;  never  the 
reverse — a  precaution  of  which  the  experimenter 
will  not  need  to  be  told  the  reason  if  he  tries  it 
once  the  other  way,  as  a  thick  yellow  precipi- 
tate is  the  result.  The  developer  is  well  known, 
and  it  is  hardly  necessary  to  give  details  of  its 
use.  The  hydroquinone  developer  is,  however, 
not  so  well  known,  at  all  events  to  beginners, 
and  I  therefore  give  a  formula    which  works 


the  shadows  from  becoming  too  dark.  If  found 
to  cause  fog,  owing  to  the  solution  being  too 
strong,  dilute  the  mixed  developer  with  half  its 
volume,  or  an  equal  quantity  of  water.  This 
last  is  desirable  in  hot  weather.  With  this 
developer  you  need  not  use  the  alum  bath,  as 
the  hydroquinone  has  a  tanning  action  on  the 
gelatine,  and  so  prevents  frilling.  The  usual 
fixing  solution  answers,  as  with  pyrogallic  acid. 
If  properly  exposed  and  developed,  the  result 
ought  to  be  a  transparency  in  which  every  grade 
of  tone  is  represented,  from  an  engraving  black 


HINTS   ON  HOUSE  DECORATION  B\   PHOTOGRAPHY. 


61 


to  nearly  clear  glass,  and.  no  details  of  the 
negative  unrepresented.  Now,  how  is  the  trans- 
parency thus  made  to  be  utilised  in  our  work  of 
decoration  ?  It  may  be  simply  inserted  in  a 
frame  (which  can  be  procured  from  most  dealers), 
and  thus  hung  in  a  window.  But  there  are  many 
other  uses  in  which  it  will  look  far  more 
ornamental;   for    example,   suppose  we  have  a 


the  result.  This  beats  all  the  coloured  glass 
and  heraldic  devices  in  the  market,  and  has  the 
great  advantage  of  being  one's  own  handiwork. 
If  the  operator  is  good  at  enlarging,  he  can  pro- 
duce one  large  transparency  the  size  of  the 
window  to  be  covered ;  this  is  done  by  using  an 
old  negative  glass,  with  some  white  paper  pasted 
over  it  on  which  to  focus  the  enlargement.    The 


FIG.  2. — TABLE  ORNAMENTED 
WITH    PHOTOGRAPHS. 


windowjwith  a  very  ugly  look-out,  possibly  into 
a  stable  yard  with  heaps  of  straw,  and  refuse  of 
various  kinds,  or  perhaps  a  good  view  of 
chimney  tops  vanishing  away  in  the  far  distance. 
"Well,  we  can  get  rid  of  these  objectionable 
sights  by  covering  over  the  window  with  trans- 
parencies. A  framework  can  be  inserted  on  the 
inside  of  the  sash  dividing  up  the  window  into 
partitions  the  size  of  the  transparencies  to  be 
used,  and  the  glasses  are  then  inserted  in  their 
proper  places  ;  a  most  ornamental  window  being 


thickness  of  the  glass,  of  course,  has  to  be 
allowed  for  in  focussing,  and  therefore,  if 
focussed  on  paper,  when  the  plate  came  to  be 
substituted  the  picture  would  be  out  of  focus. 
The  old  negative  glass  is  of  the  same  size  as  the 
enlargement  is  to  be,  and  thus  allows  of  just  the 
right  amount  of  the  picture  being  got  into  the 
plate.  "When  all  is  ready,  the  plate  is  substituted 
for  the  glass  on  which  focussing  has  been  per- 
formed, and  the  exposure  is  made  as  with  paper. 
If  the  negative  is  sharply  focussed,  and  bears 


62 


HOW  TO  MAKE-UP  FOR   THE  STAGE. 


enlargement  well,  the  result  will  be  one  which 
will  simply  rivet  the  attention  of  beholders. 
Those  of  my  readers  who  may  have  an  oppor- 
tunity of  visiting  the  "  Camera  Club  "  buildings, 
will  find  some  enormous  transparencies  in  the 
windows,  which  are  one  of  the  greatest  attrac- 
tions to  visitors  ;  they  certainly  were  to  myself, 
and  I  imagine  they  have  not  been  removed. 

One  frequently  gets  too  clear  shadows  with 
lantern-plate  transparencies,  and  if  this  occurs 
the  transparency  should  be  backed  by  a  piece  of 
ground-glass,  as  otherwise  the  external  objects 
may  show  through,  and  mar  the  effect ;  but  if 
not  used  for  a  window,  the  transparency  can  be 
utilised  as  a  drawing-room  ornament,  inde- 
pendently of  other  adjuncts.  I  find  the  following 
a  good  way  to  mount  them :  cut  from  a  thin 
piece  of  wood  a  piece  a  little  broader  than  the 
negative,  and  a  little  longer,  say  about  J  inch 
larger  each  way ;  now  make  a  frame  for  the 
transparency,  and  having  inserted  it  in  this, 
fasten  it  by  side  supports  at  such  an  angle  to 
the  board,  which  is  to  form  the  base,  that  when 
this  is  covered  with  white  paper,  the  light  will 
be  reflected  through  the  transparency,  and  show 
it  off  to  advantage.  By  making  the  side  sup- 
ports of  ornamental  work,  by  means  of  fretwork 
or  carving,  a  very  pretty  ornament  may  be 
formed.  I  give  an  illustration  (Fig.  4)  of  one 
made  by  myself,  which  is  generally  greatly 
admired  by  visitors. 


FOR 


HOW    TO    MAKE-UP 
THE    STAGE. 

By  PROFESSOR  LIONEL  AR1EUR. 


VII. — The  Effect  of  Lines  in  altering  Expression. 
S  to  the  various  kinds  of  lines,  as  they 
are  called,  with  which  it  is  possible 
to  alter  the  expression  or  shape  of 
the  features,  it  is  imperatively  necessary  for 
actresses  to  understand  the  exact  effect  of  each 
line,  and  I  have  hinted  upon  this  more  than  once. 
Briefly  speaking,  those  drawn  across  the  face 
broaden  it ;  those  drawn  down  the  face 
apparently  lengthen  it.  Shadings  of  different 
colours,  sometimes  black-grey,  sometimes  blue- 
grey,  sometimes  brown-grey,  give  the  appear- 
ance of  hollows,  dimples,  and  wrinkles.     There 


is  divorsity  of  opinion  in  choice  of  the  colour  to 
be  used,  but  for  lines  I  incline  in  favour  of  them 
all,  combined  in  this  way :  a  line  of  brown  at 
the  outside  edge,  merging  into  a  light  line  of 
blue,   and  pointed   at  the  inside   edge   of   the 
wrinkles  by  a  hair-line  of   black.     Of   course 
this  work  is  very  delicate  and  troublesome,  but 
it  must  be  remembered,  what  I  have  already 
pointed  out,  that  make-up  is  a  work  of  art.     To 
throw  a  quantity  of  colours  on  the  face  is  one 
thing,  productive  of  its  own  effect ;  to  apply  the 
same  colours  artistically,  is  quite  another  thing, 
productive  of   quite    other    effects ;    and    with 
practice,  it  is  astonishing  in  how  little  time  an 
artist  can  produce  the  desired  effects.    Regard- 
ing lines,  it  is  a  generally  accepted  rule  that 
straight  ones  are  unnatural ;  they  should,  more- 
over, always  be  as  broken  as  possible,  and  not 
continuous.     Between  lines  it  is  as  well  to  add 
little  touches  of  flake  white ;  and  to  sink  the 
eyes  or  hollow  the  cheeks,  either  blue  or  blue- 
grey    must    be    used,    with    the     cheek-bones 
whitened.     To  give  the  appearance  of  sorrow  or 
weeping,  the  brown-grey  must  be  applied  also 
under   the   eyebrows   and   on    the    eyelids,    or 
carmine    may  be    applied    to    the    latter    for 
excessive  weeping.     Another  use  of  white  is  to 
produce  a  Roman  nose  by  drawing  a  thick  line 
with  it  downwards  upon  the  bridge  of  a  straight 
nose.    The  eyelashes  will  add  much  to  the  effect 
if  darkened ;  and  this  may  be  so  skilfully  done, 
that  the  shadow   thrown   by  them  upon   grey 
eyes,  may  cause  them  (the  eyes)  to  look  dark ; 
or  the  lashes  may  be  lightened  in  colour,  and  so 
make  dark  eyes  look  less  dark.     Eyelashes  may 
be   darkened  by    simply   painting    them  with 
mascaro  or  water   cosmetique,  or  with  a  little 
melted   black   grease   paint.     Both   these  pre- 
parations are  applied  with  a  small  brush,  similar 
in  shape  to  a  tooth-brush.     Such  brushes  are 
sold  by  Mr.  C.  H.  Fox,  of  Russell  Street,  W.C. 
The  upper  lashes  may  be  darkened,  and  a  dark 
brown  line  painted  under   the    lower   ones    to 
represent  them,  instead  of  colouring  them.    The 
upper  lid  may  be  shaded  with  blue  or  a  dark 
brown,  immediately  above  the  lashes ;  and  the 
same  may  be  done  with  the  under  one,  so  that 
the  lashes  themselves  are  not  touched.    In  some 
cases,  where  the  eye  is  required  to  be  exceedingly 


PRACTICAL    ORGAN  BUILDING. 


63 


bright,  the  effect  may  be  produced  by  painting 
a  red  line  with  crimson  lake  immediately 
beneath  the  lower  lid,  and  a  fine  black  line  to 
represent  the  lashes  below  it.  The  eye  may  be 
lengthened,  and  additional  lustre  imparted  to  it, 
by  painting  a  dark  line,  about  J  of  an  inch 
long,  from  its  outer  corner  towards  the  cheek. 
Great  care,  however,  must  be  exercised  in 
making  up  the  eyes,  as  if  they  are  overdone, 
they  will  lose  their  expression,  and  appear  as 
deep  holes  with  the  eyes  gone.  For  ordinary 
characters,  the  hands  and  arms  only  require  to 
be  powdered  to  take  off  any  redness,  etc.  ;  for 
this  purpose  Mr.  C.  H.  Fox  supplies  a  special 
liquid  preparation,  known  as  Blanc-de-perles. 


AMATEUR    WORK 

PRIZE    SCHEME. 

This  month  I  offer  the  following  prizes  for 

competition : — 

IT.  A  PRIZE  OF  TWO  GUINEAS  for  the  best  written 
paper  describing  Fitments  for  Rooms  (such  as 
fittings  for  recesses,  etc.)  suitable  for  construction 
by  Amateurs.  It  is  desirable  that  the  paper  should 
be  accompanied  by  drawings,  which  need  not  of 
necessity  be  highly  finished,  and  which  should  be 
separate  from  the  IIS.  The  Publishers  reserve  the 
right  to  publish  any  article  sent  in. 

T.  A  PRIZE  OF  ONE  GUINEA  for  the  best 
Lantern-slide  from  competitor's  own  negative.  The 
slides,  of  which  not  more  than  three  should  be  sent, 
must  be  labelled  with  the  name  and  address  of  the 
competitor.  Each  competitor  must  supply  the 
following  particulars,  viz.  : — (1)  If  produced  by 
means  of  the  camera  or  by  contact  printing.  (2) 
The  kind  of  plate  used.  (3)  Particulars  of  develop- 
ment.    Size  of  slide  3J  by  3J. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  MS.  must  be  written  on  one  side  only  of  the  paper, 
and  drawings  must  be  on  separate  paper.  Each 
sheet  of  MS.  or  drawings  to  have  the  name  and 
address  of  the  competitor  clearly  written  on  the 
back. 

(3).  All  articles  in  this  competition  must  be  sent  in  not  later 
than  January  28th,  carriage  paid,  and  addressed — 
The  Editor  or  Amateur  Work,  Warwick  House, 
Salisbcry  Square,  London,  E.C. 

(4).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(5).  The  decision  of  the  Editor  shall  be  final. 


PRACTICAL   ORGAN   BUILDING. 

By  AN  ORGAN  BUILDER. 


1 1.   Wood — Kinds  and  Quantities— Ground  Frame- 
Building  Frame  and  Key  Bench. 

|T  must  be  borne  in  mind,  that  all  the 
wood  to  be  used  in  any  part  of  organ 
work  must  be  of  the  best  possible 
quality,  and  as  free  from  knots  and  shakes, 
no  matter  how  small,  as  one  can  manage 
to  get  it.  It  must  be  well  seasoned,  and  also 
dry,  because  some  of  the  most  important  details 
of  construction  are  held  together  entirely  with 
glue.  If  the  timber  is  not  perfectly  dry,  or 
green,  as  joiners  would  call  it,  it  would  be  of 
little  use  trying  to  make  a  joint  in  the  roughest 
piece  of  workmanship  the  organ  contains.  A 
man  may  be  well  skilled  in  all  the  branches  of 
the  trade,  but  he  could  turn  out  no  good  work 
unless  he  had  properly  seasoned  and  well-dried 
material. 

The  bellows,  sound-board,  and  pipes  will  be 
made  of  best  pine ;  mahogany  or  oak  will  be 
used  in  the  key  action  (the  former  is  preferable, 
as  the  acid  contained  in  the  oak  often  tends 
to  rust  the  centres  on  which  the  various  con- 
nections work,  more  especially  if  the  wood  is 
new,  or  if  the  organ  happens  to  be  erected  in  a 
place  inclined  to  be  damp),  oak  or  birch  will 
make  the  pedals,  red,  or  even  white  deal,  for  the 
swell  box  and  frame  ;  and  for  the  case  we  shall 
use  pitch  pine. 

The  quantity  required  will  be  8  feet  of 
inch  mahogany,  good  width  ;  a  short  end  of 
1  J-inch  mahogany,  and  the  same  in  birch ;  one 
board  of  f-inch  mahogany,  any  length  over  8 
feet.  This  length  will  be  sufficient  if  the  board 
can  be  procured  2  feet  wide.  This  is  not  a 
great  width  for  mahogany.  One  board,  10  feet 
long  or  over,  of  mahogany  $  inch  thick — the 
wider  the  better;  two  boards  of  1  inch  birch 
or  oak,  any  length,  and  a  short  f-inch  birch 
board ;  three  boards,  not  less  than  1 0  feet  long, 
of  1  inch,  and  five  J-inch  best  pitch  pine; 
three  deals  of  red  or  white  wood,  with  one  cut, 
and  the  following  quantity  of  best  pine: — One 
deal  with  one  cut,  that  is,  two  1^-inch  boards, 
one  deal  cut  into  two   1 J   and   £  inch   boards ; 


64 


PRACTICAL    ORGAN  BUILDING. 


one  deal  cut  into  1-inch  boards,  or,  as  usually 
called,  J-inch  stuff ;  one  cut  into  f -inch  hoards  ; 
two  deals  with  5  cut,  and  two  with  6  cut. 

The  best  pine  deals  are  generally  12  or  14 
feet  long,  11  inches  wide,  and  3  inches  thick. 
The  above  quantities  are  given,  taking  it  for 
granted  that  the  deals  will  be  somewhat  near 


stock  of  well-seasoned  and  dry  timber,  we 
commence  the  building  of  the  organ  by  making 
a  ground  frame.  This  is  really  the  ground 
plan.  Instead  of  simply  leaving  it  on  paper, 
it  is  made  in  wood,  and  is  of  great  practical 
use.  Many  builders  omit  this  ground  plan  ; 
but  to  do  so  is  a  great  mistake,  for  the  panels 


m 


-T 


^= 


no.*. 

Cround  Frame  for  the  Organ 
Scale  £ir,  •  I  foot 


7L 


m 


this  measurement.  I  would 
advise  anyone  purchasing 
timber,  to  buy  the  long 
boards  in  preference  to 
short  ones,  as  they  cut  up 
more  suitably  and  without 
much  waste ;  but,  on  th  e 
other  hand,  if  the  long 
deals  contain  more  knots 
and  shakes,  by  all  means  get  the  short  wood. 

The  quantity  just  mentioned  gives  an  ap- 
propriate idea  of  what  will  be  used,  but  it  is 
more  than  likely  that  out  of  this  quantity  there 
will  be  some  to  spare.  If  this  does  happen  to 
be  the  case,  it  were  better  so,  because  timber 
comes  cheaper,  as  a  general  rule,  when  bought 
by  the  deal,  than,  though  it  were  bought  by  the 
separate  board.  It  would  be  almost  impossible 
to  give  the  precise  measurement  of  wood  required 
to  make  even  the  smallest  organ. 

With   a  moderate  set  of  tools,  and  a  good 


u£z 


y- 


of  the  case  must  be 
fixed  to  something, 
and  pieces  of  ground 
framing  have  to  be 
made  to  stand  for  this 
something ;  and  while 
the  case  is  being  pro- 
vided for,  it  is  very 
little  more  trouble  to 
make  a  frame  to  take  the  whole  of  the  standards 
of  the  framework  in  the  organ. 

An  organ  with  a  ground  frame,  like  Fig.  4, 
is  put  together,  in  case  of  removal,  with  far 
greater  facility  than  one  which  does  not  possess 
such  a  thing  to  work  to.  In  the  latter  case, 
there  is  the  bother  of  trying  every  separate 
piece  to  see  if  it  is  level  and  square,  while  in 
the  former  instance,  mortises  are  cut  in  the 
rails  which  must  be  there ;  and,  when  once 
the  frame  is  square,  the  tenons,  cut  on  the  ends 
of  the  stiles  of  the  organ  frame  and  case  work, 


PRACTICAL    ORGAN  BUILDING. 


65 


fit  into  these  mortises,  and  the  things  are  right 
at  once. 

A  careful  study  of  the  drawing  is  essential, 
and  all  measurements  must  be  strictly  accurate. 
All  the  ground  frame  will  be  made  of  1-inch 
stuff. 

First  get  two  rails  6  feet  4  inches  long,  3 
inches  wide  finish ;  cut  a  tenon  on  each  end  2 
inches  long  ;  on  the  flat  side  of  each  make  two 


mortises  3i  inches  long,   i  inch  wide,  §   inch 


from  the  outside  edges,  and  4§  inches  from  each 
shoulder.  These  pieces  will  represent  a  a,  Fig.  4. 


wide,  with  a  1A  inch  wide  tenon  at  one  end,  will 
fit  into  the  inside.  The  other  end  of  these  short 
rails  will  be  halved  into  rail  a,  dovetail  fashion, 
and  fastened  from  the  top  with  a  f-inch  screw. 
Two  pieces  2  feet  10^  inches  long,  2  inches 
wide,  will  make  rails  f  f,  with  a  piece  let  into 
rail  a  at  one  end  ;  and  a  tenon  l£  inches  long,  cut 
at  the  other,  will  fit  into  mortises  cut  in  rail  a, 
3  feet  9  inches  long,  and  2  inches  wide.  These 
dimensions  are  all  the  exact  finished  measure- 
ments. Of  course,  everyone  who  sets  out  a 
piece  of  framing  knows  that  in  the  making  of 


Now  get  two  rails  3  feet  1 0-J-  inches  long,  3 
inches  wide,  for  b  b  ;  cut  a  tenon  2  inches  wide, 
and  the  same  length  on  one  end,  and  in  the 
inside  edge  6  inches  from  the  back,  and  6  inches 
from  the  shoulder  already  there,  make  a 
mortise  3  inches  long  and  2  inches  deep.  The 
tenons  on  the  end  of  rails,  a  a,  will  fit  into  these 
mortises.  The  rails,  c  c,  will  be  15  inches  long, 
3  inches  wide,  with  mortises  cut  on  the  inside 
ends  of  each ;  the  outside  ones  will  be  2  inches 
wide,  and  the  inside  1  -J-  inches ;  both  of  them 
will  be  2  inches  deep.  The  tenons  on  the  end 
of  rails,  b  b,  will  fit  into  the  outside  mortises, 
and  the  short  rails,  dd,  10  inches  long,  2  inches 


it  the  piece    is  not  made   the  dead  length    or 
width  to  start  with. 

When  the  pieces  are  all  put  together,  cut  a 
mortise  in  the  ends  of  rail  c  c  from  the  top  side, 
|  inch  square,  2  inches  from  the  front  and  end 
of  the  outside,  and  2  inches  from  the  front,  and 
3  inches  from  the  end  of  the  inside  end.  If  the 
case  is  decided  upon  like  Fig.  3,  this  inside  one 
need  not  be  made.  Bails  b  b  will  have  a 
similar  hole  cut  in  the  back  end,  4  inches  from 
the  back,  and  2  inches  from  the  outside  edge. 
The  square  marks,  m  m  m,  in  Fig.  4,  are  these 
holes,  h  is  a  piece  of  1  inch  stuff,  10  inches 
long,    3  inches  wide,   with  a  mortise  4  inches 


66 


PRACTICAL    ORGAN  BUILDING. 


long,  and  £  inch  wide,  cut  right  through  the 
middle.  This  mortise  will  take  a  tenon  on  the 
end  of  the  blowing  post,  afterwards  described. 
The  shoe,  as  this  piece  is  termed,  will  be 
fastened  to  rail  a  with  two  good  strong  screws 
through  the  edge.  This  constitutes  the  ground 
frame. 

The  next  thing  for  consideration  will  be  a 
good  substantial  building  frame.  Fig.  5  is  a 
sketch  of  this  frame  finished ;  it  consists  of 
front  and  back  pieces  screwed  to  two  ends.  All 
the  stiles  and  rails,  with  the  exception  of  the 
front  and  back  top  rails,  should  be  cut,  three 
out  of  a  1^-inch  board ;  that  is,  they  should 
finish  not  less  than  3J  inches  wide  ;  the  two 
exceptions  will  be  5  inches  wide.  The  end 
pieces  will  be  made  as  follows :  the  stiles, 
D  d  d  d,  will  be  4  feet  8  inches  long,  with  a  tenon 
2  inches  long,  2J  inches  wide,  cut  on  the  top 
end.  Two  rails,  2  feet  7  inches  long,  3J  inches 
wide,  will  be  mortised  right  through  these 
stiles  12  inches  from  the  bottom,  and  2  feet 
9  inches ;  this  measurement  will  be  the  top  of 
the  rails.  A  rail  2  feet  7  inches,  Z\  inches  wide 
for  the  gallows,  a,  in  Fig.  5,  will  have  two 
mortises  1\  inches  long,  2  inches  deep,  cut  1 
inch  from  the  front  and  back  end,  which 
mortises  will  fit  on  to  the  tenons  cut  on  the  end 
of  the  stiles.  When  the  end  is  glued  and 
wedged  together,  it  should  measure  2  feet  7 
inches  wide,  and  the  top  of  the  a  b  and  c  rails 
will  be  4  feet  9  inches,  2  feet  9  inches,  and  12 
inches,  respectively,  from  the  ground.  The  front 
and  back  have  stiles  2  feet  9  inches  long,  ?>\ 
inches  wide,  with  rails  mortised  right  through 
them,  1 2  inches  from  the  bottom,  and  the  top 
edge  of  the  top  rails  will  be  flush  with  the  top 
end  of  the  stile.  The  top  rails  e  e  will  be  5 
inches  wide  and  5  feet  Z\  inches  long,  and  f  f 
will  be  the  same  length,  but  3  J  inches  wide.  The 
outside  measurement  of  the  front  and  back  will 
be  5  feet  3f  inches  long,  and  2  feet  9  inches 
from  the  ground.  On  the  bottom  ends  of  g  g 
cut  a  tenon  |-  inch  long,  \  inch  thick,  and  Z\ 
inch  wide,  f  inch  from  the  front,  to  fit  in  k  k  k  k, 
Fig.  4.  Cut  out  If  inch  by  \  inch  long,  from 
the  outside  edges  of  d  d  d  d,  to  allow  for  the 
width  of  the  ground  frame  rails. 

Screw  a  piece  of  1-inch  stuff  on  the  ineides  of 


rails  c  c  c  c,  exactly  the  same  width  as  those 
rails,  so  that  it  will  come  flush  top  and  bottom. 
Cut  a  piece  17  inches  long,  2  inches  wide,  out  of 
the  top  edge  of  the  top  front  rail  e,  at  1  foot 
4f  inches  from  the  left-hand  end.  Now  screw 
the  front  and  back  pieces  to  the  ends,  and  the 
frame  will  appear  exactly  as  shown  in  Fig.  5. 
Put  the  building  frame  into  its  proper  position 
in  the  ground  frame,  and  leave  it  for  the 
present.  The  measurements  for  the  ground 
frame  just  given,  and  Fig.  4,  are  for  the  organ 
shown  in  Fig.  3.  The  instruments  shown  in 
Figs.  1  and  2  will  be  2\  inches,  and  b\  inches 
wider  at  each  end  respectively.  The  dotted 
lines  in  Fig.  5  represent  what  is  termed  the 
key  bench ;  this  is  the  next  thing  to  be  made. 
Get  two  rails  \\  inches  thick,  4  feet  \\  inches 
long,  8|  inches  wide,  and  mortise  them  into 
a  rail  8  inches  wide,  the  same  thickness,  4 
feet  long,  so  that  between  the  rails  there  will 
be  a  space  exactly  2  feet  6f  inches  wide.  Glue 
and  wedge  the  three  pieces  together,  and, 
when  dry  and  cleaned  off,  fasten  down  to 
the  front  and  back  top  rails  of  the  frame 
with  three  screws  in  each  place.  When 
in  their  proper  position,  if  the  key  bench  is 
properly  made,  the  rails  k  k  will  come  exactly 
7£  inches  from  the  outside  edges  of  the  front 
and  back  stiles  G  g,  and  the  front  edge  of  l 
will  stand  away  from  the  top  front  rail  e,  1  foot 
3J  inches. 

One  might  be  inclined  to  think  that  after  all 
there  is  nothing  very  interesting  in  organ 
building,  also  that  no  unusual  skill  would  be 
required  to  make  what  I  have  endeavoured 
to  describe ;  but  the  most  monotonous  part  of 
the  work  is  finished  when  the  frames  are  made, 
and  in  the  next  chapter  we  begin  some  very 
interesting  work. 


Whitewash  that  will  not  ettb  off. — To 
\  bushel  best  lime,  slaked  with  boiling  water, 
add  8  quarts  salt  previously  dissolved  in  hot 
water,  \  pound  whiting,  2\  pounds  ground  rice 
boiled  to  a  thin  paste,  1  pound  clean  white  glue 
dissolved  and  boiled.  Thin  with  hot  water  and 
boil  the  whole.     Apply  warm. 


THE  MAGIC  LANTERN:   HOW  TO  MAKE   AND    USE   IT. 


67 


THE  MAGIC  LANTERN :   HOW  TO 
MAKE  AND   USE  IT. 

WITH   FULL  INSTBUCTIONS  FOlt 
MAKING  A   £50   OUTFIT   FOE   £5. 

By  W.  A.  ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 

II. — The  Plinth— A  Case  for  the  Lantern— Lining 
the  Body — The  Lenses. 

]HE  next  part  we  have  to  think  about  is 
the  plinth  or  base  for  the  body  to 
stand  upon.  This  must  be  larger  in 
every  way  than  the  bottom  of  the  body — say 
about  18  by  14  by  4  inches.  This  will  allow 
2  inches  behind  and  4  inches  in  front,  with  1 
inch  each  side  ;  the  top  about  \  inch  thick,  and 
the  sides  and  ends  of  §  inch.  These  are  the 
usual  dimensions.  It  can  be  left  to  your  own 
fancy,  but  you  must  not  forget  that  the  larger 
it  is  the  better. 

If  you  cut  oblong  holes  in  the  sides  and  ends, 
it  will  be  found  very  handy  for  carrying  about. 
There  is  no  bottom  required  to  the  plinth,  only 
a  top,  for  which  we  require  a  piece  18  by  4 
inches  of  i  inch  wood,  and  5  feet  of  f  inch,  4 
inches  wide. 

Now,  on  looking  over  the  amount  of  stuff 
required,  I  think  in  round  numbers  it  will  be 
of  f  inch  stuff,  a  piece  4  feet  long  and  22  inches 
wide;  of  £  inch,  a  piece  18  inches  long  and  14 
inches  wide  ;  of  \  inch,  2  feet  by  18  inches  will 
do  it ;  and  if  of  bass,  the  lot  can  be  bought  for 
about  4s.  The  whole  can  be  put  together  with 
glue  and  a  few  brads  ;  then  after  finishing  and 
polishing,  it  must  be  well  secured  with  round- 
headed  brass  screws. 

The  body  is  secured  to  the  plinth  by  hinges 
at  the  back  end,  and  a  brass  plate  at  the  front, 
with  a  screw  arrangement  to  lift  it  up,  of  which 
I  shall  give  particulars  later  on. 

The  next  and  last  part  of  the  woodwork  is  a 
case  to  put  it  in  when  finished.  This  can  be 
made  of  deal,  but  much  better  of  bass,  and  the 
cost  very  little  more. 

The  best  shape  is  the  cupboard  with  two 
doors  ;  and  if  we  put  little  boxes  in  the  vacant 
spaces,  we  shall  find  it  very  handy  to  keep  the 
slides,  tubes,  limes,  or  any  odd  thing  that  we  want 


to  take  with  us.     A  glance  at  Fig.  5  will  explain 
what  I  mean. 

The  hinges  should  be  large  and  strong — strap 
or  T  hinges  are  the  best ;  a  little  bolt  top  and 
bottom  of  left-hand  door  ;  a  good  strong  lock  ; 
and  two  good  handles  to  carry  it  by.  Paint  it 
black  on  the  outside,  and  white  on  the  inside 
with  Aspinall's  enamel ;  and,  lastly,  letter  it  on 
the  top  with  the  caution — "  This  side  up." 

Having  very  nearly  finished  the  woodwork, 
we  must  commence  with  the  metal  portion  ;  and 
perhaps  the  best  part  to  start  with  will  be  the 
lining  of  the  body  with  metal,  to  keep  the  heat 
from  the  woodwork  ;  and  one  of  the  best  things 
to  do  it  with  is  tin.  You  can  get  sheets  at  most 
oilshops  or  any  ironmonger  for  about  2Jd.  each. 

Commence  by  cutting  pieces  to  fit  inside  the 
body  and  doors ;  secure  it  about  f  inch  from  the 
woodwork  by  little  battens  of  wood  or  metal. 
(See  Fig.  6.  >.  is  the  section  of  woodwork,  b 
the  ends  of  battens,  and  c  the  tin ;  d  is  round- 
headed  screws  going  through  the  whole.) 

The  front  piece  will  require  three  holes  to 
correspond  with  the  holes  in  the  woodwork,  to 
take  the  lenses,  and  also  the  door  piece  for  the 
little  windows. 

The  cover  or  top,  to  carry  the  chimney,  can 
also  be  made  of  tin,  but  far  better,  and  much 
easier,  of  thin  sheet  copper.  A  good  deal  of 
skill  and  ingenuity  can  be  displayed  in  putting 
it  together  without  any,  or  very  little,  solder  : 
that  is  to  say,  the  less  solder  the  better .  Fig. 
7  is  the  section,  and  Fig.  8  the  top  view,  looking 
down  upon  it.  It  is  simply  a  flat  margin  all 
round  of,  say,  1  inch  to  cover  the  woodwork, 
with  a  raised  centre  about  2  inches  high,  and  a 
hole  and  collar  to  take  the  chimney.  A  flat  piece  of 
metal  will  do,  but  if  made  as  described  it  will 
look  much  nicer.  After  painting  it  with  black 
japan,  secure  it  to  the  body  of  the  lantern  with 
round-headed  brass  screws,  as  it  will  not  be 
required  to  again  be  removed. 

The  chimney  is  far  more  important ;  it  is  not 
only  ornamental,  but  of  some  use.  As  our  lantern 
is  to  be  fitted  with  limelight,  there  will  be  little 
or  no  smoke,  but  a  lot  of  hot  air  that,  if  not 
carried  away,  would  soon  crack  the  lenses. 

The  chimney  is  composed  of  about  four  rings 
of    metal,   plain  or  corrugated,  one  above  the 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


other,  and  the  top  one  solid,  to  keep  the  light 
out.  A  glance  at  any  bullseye  lantern  will  show 
you  the  sort  of  thing.     (See  Pig.  9.) 

We  shall  also  require  a  metal  bottom,  as  the 
hot  limes  falling  down  would  burn  the" wood. 

This  completes  the  body  of  the  lantern,  and 
we  now  start  upon  the  metal  work  in  earnest. 

The  fronts,  and  the  parts  that  carry  the  lenses 


You  will  also  want  three  sets  of  front  photo 
lenses,  with  rack  and  pinion  movement;  these 
can  often  be  picked  up  at  a  second-hand  shop  for 
a  trifle,  but  the  difficulty  is  to  get  three  exactly 
alike,  and  they  can  be  bought  new,  quite  good 
enough  for  our  purpose,  for  16s.  6d.  each.  There 
is  a  lot  of  swindling  done  in  lenses  ;  being  one  of 
those  things  in  which  an  ordinary  amateur  can 


F1C.6. 

Mode  ofkeepinq 

metal  off  woodwork. 


FIC.7.  Section  of  tap. 


Bo*  to  contain  Lantern. 


"IC  .9.  The  Chimney 


FiC.8.  Plan  of  top 


and  the  elides,  are  the  most  par- 
ticular, and  perhaps  you  will  say 

the  most  difficult  parts  to  make; 

but  it  is  easy  enough  when  you 

know  how,  and  only  a  few  tools 

are    required.      A    lathe    is    the 

principal    requirement,    and  any 

old  one,  however  worn  or  shaky, 

will  do.     If  you  can  get  at  a  good 

one,   so  much  the  better ;  but  if 

you  cannot  get  one  at  all,   why 

then  you  have  simply  to  do  without  it,  and 
with  a  little  ingenuity  displayed  I  think  you 
will  be  able  to  overcome  that  difficulty. 

The  first  thing  we  must  do  is  to  get  the  lenses : 
three  sets  of  compound  acliromatic  4-inch  con- 
densors,  set  in  a  brass  mount,  which  should  cost 
you  12s.  6d.  per  set.  You  can  get  the  lenses  and 
mount  them  yourself  for  3s.  less ;  but  it  is  rather 
a  difficult  job,  and  I  think  it  is  best  to  get  them 
ready  mounted. 


not  see   any  difference   between 
a  10s.  and  a  £10  one. 

I  have  been  charged,  by  one 
of  the  largest  opticians  in  London, 
27s.  for  renewing  one  of  the  lenses 
of  a  eondensor  when  the  whole 
only  cost  12s.  6d.  new. 

I  just  mention  this  to  put  you 
on  your  guard  against  giving  a 
fancy  price,  and  being  "  taken 
in."  Of  course  the  better  the 
lenses  the  better  the  picture ;  but  the  prices  I 
have  quoted  are  for  those  usually  put  in  the 
most  expensive  lanterns  in  this  country ;  and 
should  you  have  any  difficulty  in  getting  them 
at  these  prices,  I  shall  be  glad  to  assist  you. 

Those  of  my  readers  who  are  amateur 
photographers,  and  are  possessors  of  a  portrait 
combination,  will  be  spared  this  expense.  The 
lens  named  will  be  exactly  suited  to  the 
purpose. 


AMATEUR    CONJURING. 


69 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 
Sy  A.  BARLEY. 


II. — A  New  Kind  of  Multiplying  Coin. 
|  N  my  last  paper  I  gave  instructions  for 
fitting  up  your  stage,  or  room,  for  an 
entertainment,  with  instructions  also 
how  to  make  a  simple  conjuring  table.  I  will 
now  try  to  " let  you  into  the  secret"  of  a  new 
kind  of  multiplying  coin.  It  may  alter  the  state 
of  things  as  related  by  Mr.  Adamson,  in  Vol.  V., 
where,  in  his  conversation  with  a  professor,  the 
professor  tells  him  of  a  new  bos  for  vanishing 
money  that  he  has  just  made,  whereupon  Mr. 
Adamson  calls  it  a  "misapplication  of  ingenuity" 
to  make  one  of  that  sort,  and  suggests  that  he 
ought  rather  to  make  one  of  the  other  sort,  viz., 
for  producing  money. 


FIG.  4. — THE    SHELL. 

SMALLER    PENNY   TO   FIT 

INSIDE. 


This  apparatus  that  I  am  about  to  describe  is 
not  a  box,  but  simply  a  coin  of  the  realm.  First 
of  all,  you  must  decide  on  the  piece  of  money 
you  wish  to  "  fake."  Some  amateurs,  who  have 
plenty  of  ready  cash,  will  doubtless  say,  on 
reading  this,  "  We  only  use  half-sovs.  for  coin 
tricks,"  etc.  Well,  they  can  use  them  if  they 
like.  I  make  a  penny  serve  the  same  purpose, 
so  I  will  describe  it  as  a  penny.  First,  then, 
get  a  penny — a  moderately  new  one ;  I  do  not 
mean  a  bright,  new  "  Jubilee  "  (?)  penny  (so- 
called  by  the  children,  whether  the  date  answers 
to  1887  or  not),  but  one  that  has  not  had  much 
use.  and  got  worn.  Now,  all  yelathemen,  chuck 
it  in  your  lathe,  and  with  your  tools  turn  all  the 
inside  out  until  it  becomes  a  mere  shell — "  not 
too  thin,  but  just  thin  enough."  Then  smooth 
it  nicely  inside,  with  edges  nicely  filed,  so  that 
when  the  coin  is  finished  it  will  not  be  likely  to 
stick  through  having  rough  edges.  Then  take 
another  penny,  and  also  fix  that  in  the  lathe, 
and  turn  the  edge  off  just  enough  to  fit  inside 
the  other  penny  (the  shell,  see  Fig.  5j.  Do  not 
imagine  that  a  clumsy,  slovenly  finish  will  do, 
because,  although  it  does  not  look  much,  to  be 


an  effectual  trick,  the  turning  must  be  done  with 
much  care  and  frequent  testings  to  see  that 
the  penny  quite  fits  the  shell.  Fig.  4  shows 
the  shell. 

Now  for  the  method  of  using  it.     (It  is  best 
to  make  two  or  three  of  the  coins  while  you  are 


FIG.    5. — ILLUSTRATING    RELATIVE    SIZES    OF  COINS. 

about  the  one,  as  it  takes  little  more  time.)  I 
will  give  some  of  the  "patter,"  as  the  con- 
juror's gabble  is  technically  called.  Have  a 
table  in  front  of  you,  with  something  on  it,  say 
an  orange  or  book;  placed  so  as  to  hide  the 
"  faked  "  coin,  or  coins.  Then  come  to  the  front, 
and  begin  your  trick  hy  borrowing  a  penny. 
Now  say  something  like  the  following :  — "  Ladies 
and  gentlemen,  everyone  here  has  heard  that 
money  can  make  money  at  any  time.  If,  for 
instance,  I  were  to  put  this  penny  out  at  interes-t 
at  10  per  cent,  per  annum,  it  would  double  itself 
in  about  seven  years  or  so."  While  you  have 
been  talking,  you  get  to  your  table  and  pick  up 


FIG.  6.— SHOWING  POSITION  OF  COIN  FOR    "  PALMING." 

one  of  the  "doubles"  unobserved.  Place  your 
left  hand  negligently  on  the  table,  and  pick  up 
one ;  you  will  not  be  noticed — in  fact,  if  you 
are  one  of  the  audience,  you  will  think  that  it  is 
a  natural  position. 

Now  hold  the  borrowed  penny  between  the 
thumb  and  fingers  of  the  right  hand.  Thence 
apparently  transfer  it  to  the  left  hand,  but 
really  "  palm  "  it,  and  show  the  "  double."  Aa 
easy  way  to  do  this  is  as  follows  : — Hold  the 
vol.  m.  (n.s.) — G 


70 


A   NEW  COIN   CABINET. 


coin  to  be  "palmed"  between  the  second  and 
third  fingers  and  the  thumb  ;  then  slide  it  down 
the  thumb  into  the  palm  of  the  hand  (Fig.  6). 
Then,  by  slightly  closing  the  thumb,  the  coin 
will  be  found  to  stick  there.  Of  course,  this 
will  necessitate  a  little  private  rehearsal  before- 
hand. But  to  return  to  the  trick.  After  having 
"  palmed"  the  original,  and  got  the  "double" 
in  its  place,  you  say,  ' '  Now,  watch  me  carefully  ; 
I  have  my  sleeves  turned  up,  also  my  nose — no, 
I  don't  mean  that — so  that  I  cannot  get  the 
money  from  them.  In  fact,  it  is  a  hard  job  for 
me  to  get  money  from  anywhere.  Now  with 
a  gentle  rub  or  two,  and  a  little  friction  applied 
judiciously,  the  penny  has  become  two."  Just 
a  word  or  two  about  making  the  inside  penny 
come  out  of  the  "  shell."  Hold  the  "  double  " 
firmly  between  the  first  and  second  fingers  and 
the  thumb,  with  the  thumb  at  the  lack.  Slightly 
tilt  the  "  double,"  and  relax  the  pressure  of  the 
thumb  a  little,  and  then  it  will  be  an  easy  matter 
to  show  them  side  by  side. 

These  are  just  the  principles  of  the  trick,  but 
any  amateur,  reading  this,  will  at  once  see  what 
a  tremendous  lot  of  variations,  almost  endless, 
in  fact,  it  will  bear. 


A    NEW   COIN    CABINET. 

By  0.  BECKERLEGOE. 


MONGST  the  multitudes  of  those  who 
read  the   pages  of  Amateur  Work, 
there  are  many,  I  judge,   who,  like 
the  writer,  have  a  liking  for  old  coins. 

The  mere  utilitarian  can  see  nothing  in  a  coin 
but  so  much  purchasing  power ;  whilst  others 
can  see  much  to  instruct  and  charm.  An  old 
coin  has  a  wonderful  history  to  relate,  and  is  a 
manifest  link  betwen  the  dead  past  and  now. 
It  also  reveals  the  rise  and  progress  in  art  as 
hardly  anything  else  can  do.  The  shrewd 
money-getting  man  shakes  his  head  over  the 
old  coin-hunter ;  but  the  latter  has  this  comfort, 
that  to  such  as  himself  the  world  is  largely 
indebted  for  the  knowledge  it  has  of  the  past, 
and  for  the  treasures  laid  up  in  its  museums 
and  cabinets. 


The  present  writer  began  to  collect  when 
literally  a  baby.  A  collector,  like  a  poet,  is 
born,  not  made.  Now,  most  people,  when  they 
have  succeeded  in  collecting  a  number  of  coins, 
are  perplexed  what  to  do  with  them ;  and  to 
help  such  is  the  object  of  this  paper. 

In  my  own  case  I  got  a  number  of  pieces  of 
mahogany  10  x  7|  X  {  inch  thick  in  one  half 
of  the  number.  I  bored  holes  with  a  centre-bit 
of  a  size  to  suit  the  different  coins.  A  per- 
forated slide  and  a  plain  one  were  then  glued 
together,  with  a  piece  of  red  cloth  between 
them.  By  this  means  the  coins  rested  in  little 
cells  with  the  bottom  lined.  This  was  satis- 
factory only  for  a  time.  Then  came  the  craving 
for  a  cabinet ;  but  such  as  I  wanted  would  cost 
more  than  I  was  prepared  to  lay  out.  The  only 
alternative  was  to  make  one.  Up  to  this  time 
I  had  not  attempted  any  cabinet  work,  but  I  felt 
that  with  love  and  labour  I  could  do  much,  and 
the  result  was  all  I  could  desire.  Its  dimen- 
sions are  :  13  inches  high,  9  inches  from  front 
to  back,  and  1 1  inches  wide.  With  the  mould- 
ings top  and  bottom  it  stands  14J  inches  high. 
It  contains  twenty  slides  and  two  drawers,  and 
provides  accommodation  for  400  or  500  coins. 

Procure  4  feet  3  inches  of  mahogany,  9^ 
inches  wide  by  \  inch  thick ;  work  it  up,  and 
reduce  it  to  9  inches  wide.  The  sides  are  13 
inches  long  ;  top  and  bottom,  11  \  inches.  Scribe 
a  line  \  inch  from  each  end  of  the  top  and 
bottom,  and  cut  dovetail  pins  in  them.  The 
mortise  to  receive  these  pins  must  not  be  cut 
through  the  side.  We  have  thus  a  kind  of  blind 
dovetail  joint.  Adequate  care  must  be  taken 
that  the  ends  are  properly  squared  up,  and  that 
the  two  sides  and  the  top  and  bottom  are  exactly 
of  the  same  length. 

On  the  two  edges  of  the  sides,  which  are  to 
stand  for  the  back,  a  J-inch  rebate  must  be 
taken  out  to  receive  the  backing.  When  all  is 
ready,  the  body  is  to  be  glued  up,  care  being 
taken  that  it  is  not  long  cornered. 

A  piece  of  J-inch  mahogany  must  now  be 
squared  up  to  fit  in  the  rebate  at  the  back.  It 
will  be  best  to  fix  it  temporarily  with  screws 
at  this  point.  The  door  must  be  our  next 
work.  This  is  framed  out  of  £-inch  wood,  rails 
and  stiles  being  \\  inches  wide.     The  tenons 


A   NEW  COIN  CABINET. 


71 


should  not  be  more  than  f  inch  long.  When 
made  it  must  be  the  same  size  as  the  outside 
measurement  of  the  body.  When  the  frame 
is  glued  up,  the  joints  are  strengthened  by 
boring  a  £-inch  hole  from  the  inside  of  the 
frame  through  the  tenon,  and  glueing  in  a  pin, 
care  being  taken  that  the  centre-bit  did  not 
come  through  to  the  outside. 

Possibly  there  will  be  a  bit  of  winding  in  the 
frame;  if  so,  it  must  be  planed  out.  Four 
pieces,  3  by  1J  by  f,  must  now  be  cut  out, 
and  one  end  of  each  must  be  cut  off  at  an 
angle  of  45.  These  must  be  glued  together  at 
the  angle,  to  fill  the  upper  corners  of  the  door 
'Fig.  1).  The  lower  edge  is  cut  into  the  segment 
of  a  circle.  This  may  be  done  before  or  after 
the  corners  are  glued  in  their  place.  If  done 
before,  they  should  not  be  finished ;  this  should  be 
done  when  they  are  in  position.  In  fitting  them 
to  their  position,  care  should  be  taken  to  secure 
a  close  joint.  Of  course,  the  corners  could  be 
made  of  one  piece  instead  of  two  ;  but  then  the 
wood  would  be  cross-grained,  either  with  the 
stile  or  the  rail. 

Need  it  be  said  that  the  curves  in  the  corners 
must  be  parts  of  the  same  circle,  that  is  to  say, 
they  have  the  same  point  for  their  centre. 

The  next  business  was  to  put  a  bead  around 
the  front,  to  form  a  rebate  to  take  the  glass.  To 
do  this  at  the  sides  and  bottom  was  easy.  When 
I  came  to  the  curves,  a  cabinet  maker  told  me 
it  could  not  be  done,  as  mahogany  was  too  short- 
tempered  to  submit  to  bending  to  so  small 
a  circle  ;  but  I  concluded  that  a  professional 
man  had  not  the  time  at  his  disposal  that  an 
amateur  has,  and  could  avail  himself  of  methods 
not  at  my  command  to  obtain  the  desired  result. 
However,  by  the  aid  of  boiling  water  and 
patience,  I  was  able  to  work  the  beading  into 
its  place.  Whilst  still  hot  I  tacked  it  into  its 
position,  and  left  it  there  till  cold,  after  which 
I  removed  it  and  made  the  mitres,  taking  care 
to  make  the  joints  good.  The  outside  corners 
of  the  door  were  now  rounded  off,  and  the  door 
was  hung. 

I  now  framed  four  pieces  as  a  moulding  for 
the  top,  also  for  the  bottom.  They  were  made 
of  wood  2  inches  wide  and  \  inch  thick.  The 
joints  were  mitred  ;  when  finished  they  were  1 


inch  wider  than  the  body,  and  \  inch  deeper  from 
front  to  back  than  the  body  and  door.  Thus, 
when  put  flush  with  the  back  of  the  body,  the 
frame  would  extend  \  inch  beyond  the  sides  and 
door.  The  lower  edge  of  the  top  moulding  and 
the  upper  edge  of  the  lower  moulding  are 
rounded  off.  The  front  corners  are  rounded  to 
correspond  with  the  corners  of  the  door.  For  the 
top  and  bottom,  pieces  of  mahogany  are  required 
A  inch  longer  than  the  moulding  measures  from 
side  to  side,  and  \  inch  wider  than  from  front  to 
back,  so  that  it  will  project  beyond  the  moulding 
\  inch  each  side  and  front. 

The  top  has  the  edges  rounded  off,  whilst  the 
bottom  has  the  edges  square.  The  front  corners 
are  rounded  to  match  the  moulding  and  door. 
When  the  parts  are  ready  for  fixing,  the  mould- 
ings are  glued  and  screwed  to  the  top  and 
bottom,  of  course  screwing  from  the  inside,  or 
moulding,  care  being  taken  that  the  points  of 
the  screws  do  not  project.  Now  put  the  top  and 
bottom  in  their  positions,  and  glue  them  to  the 
body,  and  secure  by  screws  passing  through  the 
top  and  bottom  of  the  body  into  the  moulding. 
By  this  means  we  shall  have  no  screws  visible 
on  the  outside.  By  removing  the  back  we 
shall  be  able  to  fix  the  screws  without  difficulty. 

The  piece  of  wood  I  selected  for  the  top  had  a 
very  beautiful  feather,  but  I  was  compelled  to 
abandon  it  for  a  plain  piece,  as  it  warped.  I 
had  no  sooner  planed  it  true  than  by  the  next 
day  it  was  as  crooked  as  a  ram's  horn.  With  a 
foot-rule  or  dividers  mark  twenty  \  inches  on 
the  inside  of  each  side  at  the  front.  If  our 
measurement  has  been  carefully  done,  we  shall 
have  2  inches  to  spare  at  the  bottom.  See  if  the 
space  left  is  the  same  each  side ;  if  not,  then 
our  J-inch  divisions  somehow  are  wrong,  and 
we  must  see  where,  as  unless  these  divisions  are 
true,  our  slides  will  be  out  of  truth  when 
inserted.  By  the  aid  of  a  square  draw  lines 
across  the  sides  by  the  divisional  marks,  working 
from  the  front  edges. 

Forty  strips  of  wood  must  be  prepared,  1\ 
by  \  by  £  inches.  These  must  be  placed  by  the 
lines  ;  beginning  at  the  top,  the  lower  edge  of 
the  slip  must  be  placed  by  the  line  which  will 
give  a  J-inch  groove,  between  it  and  the 
top.   Scribe  a  line  f  inch  from  the  front  of  the 


72 


A   NEW  COIN  CABINET. 


sides,  and  bring  the  ends 
of  the  slips  to  it.  When 
our  work  is  finished,  we 
shall  have  a  series  of 
:}-inch  grooves  to  receive 
the  slides.  The  remain- 
ing 2  inches  must  be 
equally  divided  by 
similar  slips  to  those 
already  fixed,  for  the 
purpose  of  taking  the 
upper  of  two  drawers. 
The  back  may  be  glued 
in  its  place,  and  made 
secure  by  sprigs  or 
screws.  Having  done 
this,  I  proceeded  to 
adapt  the  slides  I  had 
made  to  my  case  by  cut- 
ting a  rebate  on  the 
underside  of  each  end 
of  the  slides,  so  as  to 
leave  a  tongue  to  slide 
in  the  grooves.  Having  ^^ 
fitted  them,  they  were 
finished  by  a  half-  , 
round  moulding  being  W\\ 
glued  to  the  front  edge, 
extending  to  the  end  of 
the  tongue,  and  so  hiding  | 
completely  the  grooves 
when  in  position. 

The  more  I  looked  at 
the  slides,  the  less  I 
liked  them  ;  the  edge  of 
the  red  cloth,  showing 
between  the  two  pieces,  \ 
got  frayed  out,  giving 
an  untidy  aspect  to  the 
whole  affair. 

Another  plan  was 
suggested.  This  was  to 
make  the  slides  solid, 
and  bore  the  holes  half- 
way through,  and  line 
the  bottom  of  the  cell  so 
made  with  cloth.  I  fitted  up  a  number  on  this 
plan,  but  the  difficulty  of  getting  the  bottom 
of  the  cell  level,  and  of  cutting  the  holes  with- 


ii&yM1&fe£5^^ 


FIG.  I.— FRONT  ELEVATION   OF  COIN  CABINET. 


out  tearing  the  edge, 
was  so  great  that  I  be- 
came impatient  of  the 
whole  affair.  Another 
difficulty  attending  this 
plan  was,  that  when  a 
coin  nearly  filled  the 
cell  there  was  great  diffi- 
culty in  removing  it 
without  using  a  sharp - 
pointed  instrument, 

which  no  lover  of  old 
coins  can  see  done  with- 
out a  shudder.  My 
improved  method  is  the 
following  :  —  Out  of 
mahogany  or  walnut 
wood,  such  as  is  used 
for  fretwork,  not  cedar, 
as  it  exudes  a  gum 
which  condenses  on  the 
coins,  and  fouls  them. 
Indeed,  cedar  is  unfit  to 
make  drawers  for  any 
kind  of  collection,  for 
this  reason.  Out  the 
number  of  pieces  re- 
quired long  enough  to 
pass  easily  between  the 
strips  on  the  inside  of 
the  case,  and  as  deep  as 
from  the  back  to  \  inch 
from  the  front.  Work 
up  a  sufficient  quantity 
of  wood,  \  inch  wide, 
and  §  inch  thick,  to  lay 
on  the  four  sides  of  the 
slide,  as  shown  in  Fig. 
2,  d.  The  corners  must 
be  mitred.  The  pieces  at 
front  and  back  are  flush 
with  the  slide,  whilst 
those  at  the  sides  pro- 
ject &  inch.  These 
must  be  glued  and 
strengthened  by  screws 
(the  screws  passed  from  the  under  side).  These 
pieces  must  now  be  planed  down  until  they  will 
pass  easily  through  a  i-inch  gauge.     The  tongue 


!. — PLAN  OF  COIN  CABINET  ;  A,  BOTTOM  ;  B,  MOULDING 
C,  BODY  ;  D,    SLIDE  WITH   DIVISIONS   FOR  COINS. 


A   NEW  COIN  CABINET. 


73 


will  still  be  too  thick  to  pass  into  the  groove ;  it 
must  he  hrought  down  to  the  proper  thickness, 
either  by  a  rebating  plane  or  paring  chisel. 

Strips  of  mahogany,  i  inch  by  \  inch,  must 
now  be  glued  to  the  front  edges  of  the  slides. 
They  should  be  cut  out  of  wood  with  a  hand- 
some feather,  or  curl  if  possible.  The  edges  of 
these  must  be  rounded  off  or  left  square,  accord- 
ing to  taste.  Two  drawers  must  now  be  made 
to  occupy  the  lower  portion.  These  I  made  of 
mahogany,  and  finished  them  off  by  carrying  a 
small  bead  around  the  front. 

But  to  finish  our  slides.  The  bottom  must 
now  be  lined  with  velvet  or  other  material.  Plum 
is  a  good  colour,  or  purple.  Some  care  must  be 
exercised  in  fixing  the  velvet,  else  the  glue  or 
cement  will  come  through.  If  a  line  of  thin 
glue  or  cement — shellac  dissolved  in  spirits — is 
carried  around  the  bottom  of  the  slide,  and 
allowed  to  get  taekey,  the  velvet  may  be  laid 
on  without  being  damaged.  The  centre  need 
not  be  so  fastened.  Strips  of  thin  wood  must 
now  be  made.  The  slide  must  be  carefully 
measured  off  in  squares,  and  the  strips  fixed  in 
their  places,  as  shown. 

Several  advantages  will  be  found  in  this 
method  over  the  old  plan.  A  larger  number  of 
coins  can  be  accommodated  without  crowding, 
as  the  divisions  are  not  so  wide  as  must  be  if 
the  holes  are  bored.  If  the  coin  fits  tightly 
into  the  compartment,  the  corners  admit  of  their 
being  removed  easily.  The  cabinet  contains  far 
less  wood,  and  is  consequently  much  less  heavy, 
which  is  a  considera'ion  if  it  has  to  be  lifted 
often  or  far ;  besides  wliich,  the  slides,  with  their 
coins,  are  far  more  handsome  in  appearance. 
The  coins  are  seen  to  their  best  advantage. 

The  woodwork  now  being  finished,  the  door 
must  be  glazed.  The  glass  should  be  bedded 
with  putty,  coloured  to  match  the  wood,  and 
then  retained  in  its  place  by  thin  slips  of  wood, 
glued  on  the  inside.  Polishing  comes  next, 
after  which  the  knobs  must  be  put  to  the  slides 
and  drawers.  For  the  slides  I  find  a  central  knob 
the  best,  for  the  drawers,  two  knobs.  Small 
ivory  or  metal  slips  may  be  cemented  or  pinned 
to  the  slides  if  desired,  stating  the  kind  of  coin 
each  slide  contains. 

The  result  of  our  labours  will  be  a  handsome 


cabinet.  It  may  take  a  lot  of  labour,  but  if 
wrought  in  love,  the  results  will  be  all  we  could 
desire.  No  one  judges  my  case  to  be  the  work 
of  an  amateur. 

The  great  bane  of  amateurs  is  that  they  get 
tired  and  say,  "It  will  do,"  when  they  know  it 
will  not  do,  because  if  they  tried  they  could  do 
better,  the  result  being  that  the  work  is  never 
satisfactory,  or  is  even  thrown  up  before  half 
completed. 

I  would  just  say  a  word  or  two  on  the  collec- 
tion. The  great  fault  of  young  collectors  is  that 
they  collect  indiscriminately,  and  so  get  a  hetero- 
geneous lot,  which  yields  little  information  or 
pleasure.  It  is  much  better  to  have  one  section 
of  the  subject  complete  than  to  have  odds  and 
ends  of  everything.  At  the  same  time,  it  is 
advisable  to  take  everything  that  comes  to  hook, 
as  sometimes  a  valuable  coin  or  medal  may  come 
in  one's  way  tinexpectedly.  But  there  should 
be  a  main  purpose.  Never  part  with  a  coin 
until  you  know  what  it  is.  In  my  early  days  I 
procured  a  Stephen's  penny.  Having  no  idea 
of  its  value,  I  was  easily  persuaded  to  part 
with  it  for  some  coins  to  me,  then,  equally 
ancient-looking,  but  which  now  I  know  to  be 
very  common,  and  comparatively  little  worth. 
Against  such  folly  I  warn  the  young  collector. 

There  are  various  plans  for  arranging  coins 
in  a  cabinet,  such  as  by  their  chronological 
position,  or  by  their  denomination.  The  latter 
plan  is  the  one  I  prefer,  as  the  chances  are  that 
by  the  former  method  there  will  be  many  a  long 
break  visible.  But  by  the  latter  plan,  although 
the  breaks  are  there,  they  will  not  be  so  pro- 
nounced. For  instance,  if  succeeding  reigns 
are  taken,  then  sometimes  there  will  be,  perhaps, 
several  in  which  we  hardly  have  a  coin.  But 
taking  a  denomination,  say  sixpences,  and 
placing  them  before  the  eye  at  once  in  the  order 
of  their  dates,  with  what  varieties  of  the  same 
reign  we  can  get,  we  have  a  far  more  pleasing 
and  instructive  picture  before  us.  Thus,  one 
could  make  any  one  denomination  a  speciality, 
and  work  for  its  completion,  beginning  with  the 
easier  first.  For  example,  the  English  copper 
coins.  There  are  many  pieces  rare  enough  to 
tax  the  patience  of  the  young  numismatist  to 
procure,    and    varieties   of    types    to   make   it 


74 


CHUCKS  FOR   "MY  LATHES." 


exceedingly  interesting.  The  collector  should 
not  go  far  in  his  work  without  making  a 
pedigree  book,  in  which  should  be  set  down 
when  the  coin  was  procured,  from  whom — if 
from  a  "find,"  state  the  particulars — and  also 
the  price  paid.  If  ever  the  owner  has  to  sell, 
they  will  be  all  the  more  valuable — like  many 
other  things — if  they  have  a. pedigree.  These 
little  interesting  details  sometimes  slip  the 
memory,  but  if  entered  in  a  book  they  are 
made  secure. 


CHUCKS  FOR   "MY  LATHES." 

By  REV.  J.  L.  DWYER,  B.A. 

-The  Independent  Four-jaw  Chuck. 
|S  the  lathe  is  the   "  king  of  tools,"  so 
there  can  be  little  doubt  but  that,  for 
engineers'  work,  the  independent  four- 
jaw  is  the  king  of  chucks. 

From  the  diagrams  Figs.  17  and  18,  which 
are  front  and  back  views  respectively,  a  very  fair 
idea  of  the  general  appearance  and  construction 
of  the  chuck  can  be  obtained.  It  will  be  seen 
to  consist  of  a  face-plate,  on  which  four  jaws 
slide  by  the  agency  of  screws.  The  screws  are 
boxed  in  by  the  thickness  of  the  face-plate,  which 
on  this  account  is  of  peculiar  construction.  It 
would  do  to  have  the  web  of  the  face-plate  thick 
enough  to  enclose  the  screws,  say,  1£  inch  thick 
for  an  8-inch  face-plate ;  but  this  would  make 
the  chuck  excessively  heavy,  so  another  plan  is 
generally  followed.  The  web  of  the  plate  is  of 
the  usual  thickness,  say,  \  inch,  and  a  rim  is 
cast  round  the  periphery,  which  brings  it  to  the 
required  thickness.  Ribs  of  the  same  width  and 
thickness  are  also  placed  at  each  side  of  the 
slots,  so  that,  although  the  plate  is  light,  it  is 
very  strong,  In  some  chucks  an  extra  strength- 
ening piece  is  put  where  the  heads  of  the  screws 
come,  as  may  be  seen  in  Pig.  18,  but  I  consider 
it  better  policy  to  make  the  entire  rim  a  little 
thicker,  and  dispense  with  the  extra  pieces,  for 
then  the  chuck  can  be  turned  at  both  sides, 
and  will  run  truer,  besides  being  rather  easier  to 
make.  Fig.  18  is  the  back  of  mine,  but  if  I 
were  making  another,  I  would  not  have  the 
chuck  thicker  at  the  screw-heads.  In  that  figure 


I  show  in  one  quadrant  slots  which,  in  large 
plates,  may  be  put  between  the  dogs  ;  but  they 
are  seldom  necessary.  The  dogs  will  require  to 
be  made  by  a  good  smith.  The  best  wrought 
iron,  very  well  swaged,  and,  when  finished,  case- 
hardened,  is,  I  think,  as  good  a  material  as  any 
to  make  them  of.  Some  use  Bessemer  steel,  but 
I  find  it  often  cracks  in  casehardening,  and  soft 
jaws  are  useless.  In  any  plate  of  considerable 
diameter  there  would  be  three,  and  in  small 
plates  two  steps  to  the  jaws.  A  rectangular  pro- 
jection from  the  back  of  each  jaw  fits  accurately 
into  the  slot,  and  is  the  guide  which  keeps  the 
jaw  in  its  correct  position  without  shake.  A 
plate  and  nut  at  the  back  serves  to  keep  every- 
thing tight. 

I  will  now  give  the  dimensions  of  a  large 
chuck  made  by  one  of  the  best  lathe  makers  in 
the  world,  from  which  I  calculated  the  dimen- 
sions of  my  own,  and  which  will  serve  as  a 
standard  from  which  the  sizes  of  the  various 
parts  of  any  chuck  can  be  calculated.  In  reducing, 
however,  it  must  be  noted  that  every  item  will 
not  follow  the  ratio  of  diameters  ;  but  of  this, 
more  later  on. 

Diameter  of  plate,  20  inches ;  thickness  of 
web,  If  inches  ;  thickness  at  rim  and  at  ribs,  2 
inches  ;  width  of  rim  and  ribs,  H  inch ;  dimen- 
sions of  slots,  5  inches  long  x  If  inches  wide ; 
distance  of  slots  from  periphery,  2\  inches. 

Dimensions  of  jaws  :  Width,  2j  inches,  the 
point  tapers  to  a  V.  First  step  from  centre,  2f 
inches  long  ;  second,  Z\  inches  ;  third,  \  inch  ; 
total  length  of  jaw,  6  J  inches;  projection  to 
enter  slot,  2J  x  If  inches,  2  inches  long  ;  screw 
at  back  for  1  inch  nut ;  plate  at  back,  2|  inches 
by  2\  inches. 

Screws  :  Total  length,  8  inches  ;  squared  at 
top  for  box  spanner,  i  inch  long,  §  inch  square. 
Then  plain  cylinder,  iJ  inch  diameter,  \  inch 
long ;  then  collar,  1  \  inches  diameter,  tV  inch 
long  ;  then  plain  cylinder,  \  inch  diameter,  £ 
inch  long  ;  then  screw,  square  thread,  six  to  the 
inch,  4j  inches  long ;  then  the  point  is  turned 
plain  to  f  inch  diameter,  if  inch  long. 

These  are,  as  nearly  as  possible,  the  dimen- 
sions of  the  various  parts  of  my  original.  In 
copying  it  for  a  plate  10  inches  diameter,  I 
started  on  the  supposition  that  the  square  for 


CHUCKS  FOR   "MY  LATHES: 


75 


the  spanner  could  not  be  less  than  f  inch,  which 
I  think  little  enough,  in  all  conscience.  The 
screw  should  be  J  inch  at  least,  and  the  shoulder 
J  inch. 

Various  other  dimensions  had  to  follow  these : 
e.g..  the  slot  should  be  at  least  1  inch  wide,  to 
allow  of  sufficient  strength  for  screw  and  part  of 
jaw  which  fits  into  it.  Also  the  rim  should  be 
thicker,  as  if  f-inch  shoulder  was  sunk  into  a 
rim  1  inch  thick  it  would  leave  only  \  ineh  at 
each  side,  which  would  reduce  the  strength  of 
the  plate  to  a  dangerous  point.  I  obviated  this 
difficulty  by  putting  a  strengthening  section  at 
the  back,  as  I  mentioned  before.  The  rim  was 
1  inch  thick,  and  from  the  front  of  plate  to  the 
back  of  ribs  was  the  same. 

For  the  sake  of  the  uninitiated,  I  give  four 
very  clear  drawings  (Figs.  19,  20,  21,  and  22), 
one-third  full  size,  of  the  various  parts  of  the 
chuck. 

Fig.  19  is  a  section  through  the  screw  at  right 
angles  to  the  plate.  There  will  be  seen  one  jaw, 
with  its  three  steps  and  projection  at  back,  pass- 
ing through  the  slot,  which  extends  from  the 
line  s  to  s.  The  washer  at  the  back,  wider  than 
the  slot,  and  the  nut  hold  the  jaw  firmly  against 
the  plate.  The  screw  is  tapped  into  the  part  of 
the  jaw  which  fits  into  the  slot.  Its  point  works 
in  a  hole  in  the  centre  of  the  plate,  and  the 
shoulder  keeps  it  immovable.  This  shoulder 
bears,  in  one  direction,  against  the  solid  cast- 
iron,  and,  in  the  other,  against  a  turned  steel 
collar,  which  is  passed  in  over  it. 

This  collar  is  prevented  from  coming  out  by 
two  taper  cast-steel  pins,  which  are  let,  from  the 
front  of  the  plate,  half  into  the  collar  and  half 
into  the  plate,  as  can  be  seen  plainly  from  Fig. 
21.  This  figure  (21)  is  a  view  looking  down  at 
the  top  of  the  screw.  The  outside  end  of  the 
jaw  can  be  seen  projecting  1^  inches  from  the 
surface  of  the  plate  ;  dotted  lines  show  the  part 
which  goes  into  the  slot,  while  the  washer  and 
nut  appear  at  the  back.  Note  that  the  washer 
projects  T\  inch  into  the  slot,  to  prevent  it  from 
turning  when  the  nut  is  being  tightened  up.  In 
this  figure  also  can  be  seen  the  square  head  of 
the  screw,  and  the  recess  where  the  box 
spanner  fits. 

The  principal  new  feature  to  be  observed  in 


Fig.  20  is  the  V-shaped  points  of  the  jaws.  The 
V  is  45°  from  each  side,  so  that  the  two  lines 
forming  it  make  an  angle  of  90°  with  each  other, 
and  when  the  jaws  are  screwed  to  meet  in  the 
centre  the  lines  of  the  Vs  of  the  four  jaws  will 
coincide.  The  chuck  will  hold  a  piece  of  work 
of  rather  less  than  \  inch  diameter,  and  up  to 
about  9^  inches.  Fig.  22  is  a  view  of  the  back 
of  the  chuck,  and  will  be  useful,  principally,  in 
making  the  pattern,  if  the  castings  were  not 
bought  complete. 

Now  I  will  suppose  that  the  amateur  has  the 
casting  and  forgings,  and  is  about  to  begin 
work  in  converting  them  into  a  four-jaw  chuck, 
value  10s.  per  inch  of  diameter,  which  is  the 
usual  price. 

The  casting  should  first  be  bolted  against  the 
face-plate  of  the  working  lathe,  bored,  screw 
cut,  and,  perhaps,  the  boss  turned  and  a  rough 
cut  taken  off  the  ribs.  If  there  are  no  lumps 
at  the  screw-heads,  a  cut  might  also  be  taken 
off  the  outside  rim. 

The  plate  may  now  be  screwed  on  the  nose  of  its 
own  lathe,  and  the  front  carefully  turned  flat  and 
smooth.  It  may  be  reversed,  and  the  back  turned 
in  like  manner,  finishing  very  carefully,  and 
seeing  that  the  slide-rest  leaves  the  plate  flat, 
not  hollow  towards  the  centre,  nor  yet  raised  in 
that  part. 

If  the  thickness  is  now  measured  at  several 
points,  it  will  be  found  to  be  the  same  every- 
where ;  if  it  is  not,  there  was  something  wrong 
in  the  workmanship,  and  the  best  thing  to  do 
would  be  to  see  that  the  face  runs  perfectly  true 
when  it  is  right  side  out  on  the  nose,  also,  with 
a  straight  edge,  that  it  is  perfectly  flat ;  if  so, 
then  the  back  will  be  found  to  be  untrue.  If  it 
can  be  managed,  with  a  slide-rest  tool  take  a 
light  cut  off  the  back,  as  it  is,  and  it  will  be  all 
right.  But  it  is  not  easy  to  take  a  cut  off  the 
back  of  a  big  face-plate  like  this,  and  so  it  might 
be  necessary  to  file  and  scrape  the  ribs  until 
their  back  surfaces  are  the  same  distance  from 
the  front  of  the  face-plate  at  every  point.  The 
outside  rim  of  the  plate  should  be  carefully 
turned  at  right  angles  to  the  surface,  and  a  very 
narrow  line,  scribed  with  a  sharp  V-pointed  tool, 
A  an  inch  from  the  front  surface ;  this  line  will 
mark  the  centres  of  the  holes  for  the  screws. 


76 


CHUCKS  FOR   "MY  LATHES: 


FIG  22 


FIG    18. 


FIG  19 


DESCRIPTION    OF    FIGURES. 


FIGS.  17  AND  18.— FRONT  AND  BACK  VIEWS  OF  CHUCK. 

FIG.  ig.- SECTION  THROUGH  SCREW,    ONE-THIRD   FULL  SIZE. 

FIG.  20.— FRONT   VIEW,    ONE-THIRD   FULL  SIZE. 

FIG.  21.— END   VIEW  OF  SCREW  AND  JAW,  ONE-THIRD  FULL  SIZE. 

FIG.  22.— BACK  VIEW  OF  CASTING,   ONE-THIRD   FULL  SIZE. 

FIGS.  23  AND  24. -INSIDE  AND   OUTSIDE  TEMPLATES. 


CHUCKS  FOR   "MY  LATHES." 


77 


Lines  may  also  be  turned  on  the  front  face 
with  the  same  tool,  as  seen  in  Fig.  17,  to  facili- 
tate the  setting  of  work  centrally  on  the  chuck 
afterwards. 

The  slots  must  next  be  lined  out,  and  this  had 
better  be  done  while  the  casting  is  still  on  the 
lathe  nose  ;  that  is,  if  the  bed  of  the  lathe  is  true, 
which  it  should  be.  Set  the  point  of  the  scriber 
\  inch  below  the  lathe  centre,  turn  the  lathe  until 
one  pair  of  slots  in  the  chuck  are  horizontal,  and 
draw  lines  with  the  scribing  block  under  the 
slots ;  then  set  the  point  \  an  inch  above  the 
lathe  centre,  and  draw  a  similar  pair  of  lines 
above  the  slots  ;  draw  also  a  line  on  a  level  with 
the  lathe  centres  across  the  plate  ;  then,  with  a 
square,  draw  other  lines  near  the  edges  of  the 
vertical  slots  \  inch  at  each  side  of  the  lathe 
centre,  so  that  the  slots  will  be  lined  out  at  right 
angles  to  each  other,  and  1  inch  wide  ;  a  vertical 
line  may  also  be  scribed  passing  through  the 
lathe  centre.  It  is  possible  that  the  holes  may 
have  been  cast  either  crooked  or  too  wide,  and 
that  the  lines  will  not  clear  them  ;  if  that  is  the 
case,  the  slots  must  be  made  a  little  wider,  say 
lJ^  inch  or  1^  inch,  for  the  insides  of  the  slots 
must  be  perfect  in  every  respect.  The  ends  of 
the  slots  can  easily  be  lined  out.  A  point  in  the 
slide-rest  will  draw  arcs  of  circles  terminating 
the  slots,  and  with  a  straight-edge  chords  can  be 
drawn  to  these  arcs.  The  lines  must  be  dotted 
along,  as  usual,  to  perpetuate  them,  and  then 
comes  the  trueiDg  out  of  the  slots.  If  a  good 
deal  has  to  be  taken  off  at  some  or  all  parts,  a 
small  cold-chisel  may  be  used,  cutting  carefully 
from  the  front  and  hack  towards  the  centre  ;  but,  if 
there  is  only  ^  inch  or  so  to  take  off,  it  could 
be  done  with  files,  using  an  old  one  to  remove 
the  scale.  A  little  steel  square  should  be  used 
constantly,  to  ensure  the  slot  being  square  with 
the  face ;  and  towards  the  end  of  the  work  a 
little  surface  plate  that  will  fit  into  the  slot  must 
be  employed,  to  see  that  the  surfaces  are  good, 
and  not  in  winding.  A  template  also,  of  steel, 
\  inch  thick,  and  wide  enough  to  just  fit 
the  slot,  will  be  useful  in  ascertaining  that 
the  surfaces  are  the  same  distance  apart  all 
along. 

The  trueing  of  the  surfaces  of  the  plate  and 
■the  four  slots,  making  them  smooth,  uniform, 


and  perfect,  is  a  job  that  will  test  the  skill  and 
patience  of  even  the  best  workman. 

The  Jaws  may  next  be  taken  in  hand.  They 
are  first  to  be  lined  out,  by  placing  them  upon 
the  surface-plate  front  side  down,  blocking  up 
the  thin  end,  and  scribing  a  line  all  round,  which 
will  be  a  guide  to  plane  or  file  down  the  back 
surfaces  to  ;  then  they  should  be  laid  on  their 
sides  (the  surfaces  just  found  being  at  right 
angles  to  the  surface-plate),  and  the  parts  fitting 
into  the  slots  be  lined  out  a  proper  width.  This 
will  guide  in  roughing  out  these  projections,  the 
finishing  touches  being  done  in  fitting  on  to  the 
plate.  If  the  use  of  a  shaping  machine  or  planer 
could  be  got,  it  would  make  the  preparation  of 
the  backs  of  the  jaws  a  comparatively  easy 
matter ;  but  failing  that,  I  find  that  it  is  easier 
to  turn  them.  The  centre  of  the  screw  at  the 
back  is  found,  and  a  centre  is  also  found  in  the 
front  of  the  jaw  (as  at  c  c,  Fig.  19),  so  that  by 
using  these  as  lathe  centres  the  back  surface  of 
the  dog  can  be  turned,  also  the  screw,  and  the 
corners  can  be  taken  off  the  part  entering  the 
slot,  which  will  serve,  to  a  certain  extant,  as  a 
guide  in  the  fitting. 

This  part  can  also  be  lined  out,  while  still  in 
the  lathe,  by  bringing  the  jaw  horizontal,  and 
setting  the  scriber  i  inch  above,  and  then  i  inch 
below,  the  centre.  As  this  part  is  the  only 
guide  for  the  jaws,  it  is  important  that  its  sides 
should  be  made  very  true;  the  best  way  to  do 
this  is  to  make  one  side  perfect  first,  parallel  to 
the  general  axis  of  the  jaw,  as  flat  as  a  surface- 
plate  and  scraper  can  make  it,  and  at  right 
angles  to  the  back  of  the  jaw.  The  other  side 
may  be  finished  from  this,  by  using  what  I  may 
call  a  thicknessing  template  ;  thus,  if  Fig.  23  was 
used  to  measure  the  width  of  the  slots,  Fig.  24 
should  be  made  so  that  Fig.  23  will  fit  between 
its  points  with  just  slight  pressure  ;  this  can  be 
used  to  test  whether  work  is  the  same  thickness 
all  along. 

A  pair  of  callipers  is  often  used  as  a  gauge, 
but  it  lacks  the  rigidity  of  the  template  just 
described. 

When  this  part  is  done,  the  jaws  ought  to  fit 
flat  up  against  the  plate,  and  be  able  to  be 
moved  in  and  out,  with  slight  pressure,  along 
the  slot.     It  is  more  than  probable,   however, 


78 


CHUCKS  FOR    ilMY  LATHES" 


that  a  fair  amount  of  easing  will  have  to  be 
done  before  things  are  perfect.  Never,  under 
any  circumstances,  touch  the  guide  when  once  it 
has  entered  the  slot ;  if  it  is  tight  in  one  place, 
it  is  the  slot  that  is  to  blame,  and  it  must  be 
eased.  If  the  back  of  the  jaw  rests  against  the 
plate  in  one  point,  and  not  in  another,  scrape 
the  high  part  of  the  jaw,  but  do  not  touch  the 
face-plate.  This  fitting  of  the  jaws  will  be  found 
to  be  tedious  ;  but  do  it  carefully,  and  do  not  be 
in  a  hurry,  and  a  splendid  chuck  will  repay  all 
pains. 

After  this  the  work  is  plain  sailing.  The 
fitting  of  the  nut  and  washer  at  the  back  requires 
no  special  mention  ;  the  latter  is  l^f  inch  by  1  \ 
inches  and  A  inch  thick  ;  A  inch  fits  into  the 
slot,  and  should  be  a  good  fit. 

The  jaws  may  now  be  drawn  out  to  their  full 
extent,  the  nuts  tightened  at  the  back,  and  the 
fronts  turned  true.  The  edges  may  also  be  lined 
out  from  the  lathe  bed,  and  the  jaws  taken  out 
and  finished.  Grooves  are  turned  in  each  step 
and  also  at  the  extreme  outside  of  the  jaws ; 
these  serve  as  a  kind  of  teeth,  and  help  to  hold 
work  firmly  afterwards.  We  now  turn  our 
attention  to 

The  Screws,  the  holes  for  which  should  first  be 
bored.  It  will  be  remembered  that  in  lining  out 
the  slots,  two  lines  were  drawn  at  right  angles  to 
each  other,  and  passing  through  the  lathe  centre ; 
also  another  line  was  drawn  round  the  edge  of 
the  plate,  -J-  inch  from  the  front.  Scribe  lines 
across  the  edge  at  right  angles  to  the  front 
passing  through  the  ends  of  the  first-mentioned 
lines,  and  where  they  cross  the  other  are  the 
positions  for  the  centres  of  the  screws.  Centre 
punch  these  points  carefully,  and  describe  circles 
\  inch  diameter,  with  these  for  centres ;  put  \ 
inch  hole  about  J  inch  deep,  then  with  a  J-inch 
twist  drill  put  these  holes  right  through  to  the 
slot,  and  having  the  jaw  in  its  place  tightly 
screwed  up,  let  the  point  of  the  drill  just  enter 
that  too.  Do  the  same  all  round  to  the  four ; 
then  loose  the  jaw,  and  push  them  as  near  the 
centre  as  they  will  go,  and  tighten  them  up 
again  ;  then  with  a  Jf  inch  drill  passing  through 
the  outside  holes,  bore  the  holes  in  the  jaws, 
which  will  be  tapped  for  the  screws,  and  also  let 
the  drill  enter  for  \  inch  or  |  inch  into  the  other 


side  of  the  slot.     The  outer  hole  has  now  to  be 
enlarged  to  f  inch,  to  a  depth  of  1  inch ;  this 
can  be  done  either  with  a  milling  tool  fitting  on 
a  J-inch  spindle,  or  else  with  a  rose-bit  or  pin- 
drill.     The  i-inch  tap  can  be  used  while  the  jaw 
is  in  place,  passing  it  through  the  outer  hole, 
which  will  ensure  its  entering  true  and  fair.     I 
used  the  ordinary  V-thread,  on  account  of  the 
difficulty  in  getting  square-threaded  taps.     Be- 
fore the  jaws  are  removed  after  this,  it  would  be 
well  to  number  them,  so  that  they  could  be  put 
each  in  its  own  place.  The  screw  proper  is  made 
of  good  cast  steel,  the  point  is  coned,  then  $  inch 
parallel  51  inch  thick  to  fit  the  hole  drilled  for  it, 
then  it  is  threaded  J  inch  Whitworth  2£  inches 
long,  then  J  inch  plain ;  next  shoulder  f  inch  by 
J  inch  long,  then  plain  §  inch  thick  for  £  inch  ; 
total  length  4-J-  inch.     The  collar  fits  the  f  inch 
end  of  the  screw  on  the  inside  ;  and  on  the  out- 
side the  J-inch  hole.  It  is  secured,  as  I  mentioned 
before,  by  two  pins  passing  through  it  and  the 
plate.     Parallel  holes  should  first  be  drilled  for 
these  pins,  which  can  then  be  tapered  with  an 
ordinary  clockmaker's  reamer,  and  the  pins  filed 
in  the  lathe  to  fit.     The  heads  should  be  slightly 
below  the  surface  of  the  chuck  ;  but  if  the  points 
project  a  little  at  the  back,  it  will  be  easy  to 
drive  them  out  when  the  screws  are  required  to 
be  taken  out. 

We  now  have  to  caseharden  the  jaws, 
washers,  and  nuts;  and  let  us  fervently  hope 
that  they  will  not  warp  in  the  process.  It  would 
reduce  this  tendency  to  a  great  extent  if  they 
had  been  annealed  when  they  came  from  the 
smith,  and  again  after  most  of  the  machining 
was  done.  This  annealing  can  be  effected  by 
heating  them  to  a  uniform  red  in  the  fire,  and 
letting  them  cool  slowly  by  burying  them  in 
warm  ashes. 

To  caseharden,  procure  a  box  made  of  iron — a 
rough  affair  of  sheet-iron  rivetted  together  will 
do  very  well,  or  an  old  pot ;  get  some  animal 
charcoal,  and  pound  it  well,  also  small  scraps  of 
leather  from  the  shoemaker.  Pack  the  articles 
tightly  in  the  box  with  plenty  of  the  charcoal 
and  leather  between  and  over  and  under  them, 
and  seal  up  with  yellow  clay ;  then  subject  the 
whole  to  a  powerful  heat,  but  not  enough  to 
melt  the  box,  for  several  hours.     Open  the  box 


A   FANCY  COAL-BOX. 


79 


while  it  is  still  red  hot,  and  plunge  the  contents 
into  cold  water.  The  carbon  from  the  charcoal 
and  leather  steelifies  (if  I  may  be  permitted  to 
coin  a  word)  the  surface  of  the  iron,  to  a  depth 
varying  with  the  time  of  the  operation,  and 
when  it  is  plunged  into  cold  water  it  will  become 
hard,  just  like  steel ;  if  they  are  plunged  into 
urine,  instead  of  water,  it  will  give  them  a  nice 
mottled  appearance.  Thoroughly  wash  the 
articles  in  water,  dry  them,  and  rub  them  over 
with  sperm  oil,  and  they  are  ready  to  put  in  the 
face-plate  permanently.  The  squares  at  the 
ends  of  the  screws  should  be  very  carefully 
made,  so  that  the  box-spanner  will  fit  all,  and  in 
every  direction.  The  box-spanner  may  be  either 
as  is  shown  in  Pig.  17  or  18  ;  the  latter  is  easier 
to  make ;  it  is  of  wrought  iron.  The  part  fitting 
on  the  screw  square  is  drilled,  and  the  outside 
turned  at  the  same  chucking.  The  handle  also 
is  turned,  and  the  rest  filed  smooth.  The  square 
may  be  easily  worked  out  by  a  J-inch  square  file. 
If  the  spanner  is  of  wrought  iron,  it  ought  to 
have  been  casehardened  with  the  jaws. 

I  have  taken  a  good  deal  more  space  than  I 
intended  in  describing  this  chuck,  but  owing  to 
its  importance  few  will  complain.  I  hope  that 
what  I  have  written  will  prove  useful  to  many  of 
my  readers.  ' 


A    FANCY    COAL-BOX. 

By  PEDAGOGUE. 


(For  lUuiirations,  sec  folding  sheet  presented  with  thit  Part.) 

1KENG  a  bachelor  for  a  week  in  the 
winter,  and  wishing  to  give  the  "better 
half  "  a  surprise  on  her  return,  be- 
sides a  little  employment  for  myself  to  while 
away  the  time,  I  cast  about  in  my  mind  for 
a  job,  and  the  title  of  this  paper  supplied  it. 
It  quite  exceeded  my  expectations  when  finished, 
and  a  lady  (not  the  one  who  inspired  it)  asked 
if  I  bought  it  at  Maple's — it  was  so  pretty. 

Thinking  some  of  the  readers  of  Amateur 
Work  might  do  as  I  did,  being  a  very  amateurish 
carpenter,  I  will  now  set  about  describing  it. 

Let  me  begin  with  the  materials.  I  had  by 
me  about  15  feet  of  a  white  wood,   11  inches 


wide  and  ^  inch  thick,  which  the  seller  described 
as  "arbail,"  but  which  I  discovered  afterwards, 
from  Kingsley's  "  Two  Tears  Ago,"  was  abele, 
or  white  poplar.  Then,  as  I  am  in  the  habit  of 
storing  up  any  useful  piece  of  wood  that  I  can 
lay  my  hand  on,  my  "  store"  also  yielded  me  a 
piece  of  an  old  mahogany  "  four-poster,"  on 
which,  when  a  boy,  I  often  "  reposed  my 
weary  strength."  A  previous  visit  to  Godwin's 
Encaustic  Tile  Works,  at  Lugwardine,  Hereford, 
furnished  me  with  a  very  pretty  specimen  of 
their  productions.  This  tile  was  4j  inches 
square,  and  about  ^  inch  in  thickness. 

A  pair  of  2-inch  brass  butts  with  round- 
headed  brass  screws,  and  two  dozen  and  a-half  of 
1  J-inch  round-headed  black  screws,  and  I  was 
furnished  with  all  requirements  for  the  job. 

Now  for  the  work.  After  well  planing  the 
poplar  (rejecting  the  knots,  which  resist  that 
operation  better  than  any  knots  I  know),  I  cut 
up  my  stuff  to  the  shape  and  size  given  in  plans 
1,  2,  3,  4,  and  5,  the  grain  of  the  wood  running 
in  the  direction  shown.  The  edges  were  made 
quite  true  and  square  ;  and  having  finished  this 
to  my  satisfaction,  I  set  about  screwing  them 
together.  The  two  sides  were  first  fastened  to 
the  bottom,  the  latter  having  first  been  planed 
off  to  correspond  with  the  angle  at  a.  This 
threw  it  forward  to  allow  the  back  to  go  flush  with 
the  bottom  of  the  side  at  b.  The  back  came  next, 
and  then  the  top.  The  latter  was  screwed  to 
the  back  with  a  flat  screw,  for  reasons  I  shall 
presently  explain. 

The  lid  next  was  constructed ;  and  this  I  am 
afraid  would  be  called  most  unworkmanlike 
carpentry.  Having  planed  off  the  end,  which  was 
to  meet  the  top,  to  the  required  angle,  I  had  then 
to  fix  my  ornamental  tile.  I  arranged  it  in  the 
centre,  and  marked  it  round  with  a  pencil.  Then 
from  each  corner  I  drew  a  line  to  the  corner  of 
the  lid  d,  e,  f,  g.  Some  strips  of  sufficient  width 
were  planed  to  thickness  of  tile,  and  mitred  to  fit 
round  it,  and  so  cover  the  lid.  These  were  then 
bevelled  off  to  the  edge,  and  by  the  aid  of  glue, 
and  screws  from  the  under  side,  fixed  in  their 
places.     Thus  the  body  was  finished. 

The  handle  next  received  attention,  and  here 
my  six-inch  wooden  lathe  stood  me  in  good  stead. 
Taking  a  piece  of  the  "  old  four-poster,"  about 


80 


A   BATTERY  FOR  EXPERIMENTING. 


18  inches  long  and  a  couple  of  inches  square,  I 
turned  it  into  two  pillars  (shown  full  size  in  plan). 
A  i-inch  hole  was  bored  into  them  at  s,  and  a 
shaving  taken  off  with  the  plane  to  make  them 
flat  round  the  hole.  Of  course  the  hole  was  not 
bored  throtigh,  only  about  §  inch  deep.  A  piece 
of  a  holly  stake  turned,  furnished  me  with  a 
grasping  bar,  which  is  also  given  full  size  at  t. 
Two  holes  were  then  bored  in  the  top  of  the  box 
with  an  inch  auger,  the  centre  of  each  hole  being 
3  inches  from  front,  and  2J  inches  from  sides. 
The  grasping  bar  was  fixed  into  the  holes  in  the 
top  of  the  pillars,  and  the  latter  put  through  holes 
in  the  top,  and  fixed  there  by  driving  a  pin 
through  on  the  inside  of  the  box,  sufficient  length 
going  through  to  allow  that  to  be  done.  A 
miniature  pillar  similar  in  pattern  to  the  before- 
mentioned,  and  about  two  inches  long, was  fixed 
into  the  lid,  half-way  between  the  bottom  and  the 
tile,  by  boring  a  |-inch  hole  and  glueing,  to  form 
a  handle  for  opening  the  lid.  I  should  have 
said  that  a  strip  about  1  inch  wide  catches  the  lid 
at  the  bottom,  and  also  prevents  the  coal  working 
out.  The  hinges  were  placed  on  the  outside, 
and  supplemented  with  hinge  plates. 

Practically  the  construction  of  the  box  was 
ended,  but  on  second  thoughts  some  further 
ornamentation  was  given  to  it.  This  was  carried 
out  in  the  following  way.  Some  strips  of 
mahogany  were  turned,  as  at  w,  and  then  split 
down  with  a  tenon  saw,  and  after  being  smoothed 
with  the  plane  were  fastened  with  joiner's  brads 
along  the  edges  of  the  sides  and  back,  visible 
when  looking  down  on  the  box.  Four  feet  were 
turned  out  of  the  holly  stake  in  shape  as  y,  and 
fastened  in  place  in  the  same  way  as  the  handle 
of  the  door. 

It  only  remained  now  to  size  and  varnish  the 
whole,  and  my    "surprise"  was  complete. 

For  the  benefit  of  those  who  may  take  a 
similar  coal-box  in  hand,  I  do  not  see  why 
walnut  might  not  be  used  in  place  of  mahogany ; 
or,  if  neither  is  to  be  had,  wood  stained 
mahogany,  after  turning.  French  polish  would 
also  look  superior  to  varnish. 

I  should,  perhaps,  point  out  that  a  soft  wood 
is  not  suitable  for  this  work,  as  a  coal  box  is 
more  than  usually  liable  to  receive  accidental 
blows. 


BATTERY  FOR  EXPERIMENTING. 

By  FRANK  S.  MORTON. 


NE  of  the  most  convenient  batteries  for 
experimenting  is  the  bichromate  bottle 
battery,  owing  to  its  strong  current 
and  lack  of  disagreeable  fumes.  Those  of  the 
Grenet  type  are  the  most  common,  consisting  of 


-BATTERY    COMPLETE. 


a  plate  of  zinc  between  two  carbons  immersed 
in  a  solution  of  bichromate  of  potash,  sulphuric 
acid,  and  water,  with  an  arrangement  for  lifting 
the  zinc  out  of  the  solution  when  not  in  use. 
These  are  commonly  known  as  bottle  batteries, 
and  various  styles  have  been  described  in  the 
columns  of  Amateur  Work. 

Almost  any  kind  of  dish  can  be  used,  and  the 
most  simple  method  of  holding  the  zinc  and 
carbons  together  can  be  adopted  if  wanted  only 
for  short  use.  But  a  nicely  made  one  is  always 
a  source  of  pleasure,  as  it  is  always  ready  for 
action,  and  needs  less  fussing  over  than  the 
hastily  constructed  ones.  A  nice  battery  can  be 
made  from  the  ordinary  glass  fruit  jars  with 


A   BATTERY  FOX  EXPERIMENTING. 


81 


1 

I 

o 

o 

_ 

o 

o 

2 .    Piece  of  Brass  for  holding  Carbo. 


lb  Carix 


metal  screw  tops,  if  one  is  able  to  work  small 
pieces  of  brass  in  the  lathe,  and  cut  small  threads. 
Fig.  1  shows  such  a  cell  complete,  made  from  an 
ordinary  quart  fruit  jar,  as  shown.  This  size 
jar  allows  of  a  pint 
of  liquid  being  used, 
as,  of  course,  it  can 
be  filled  half  full  if 
the  zinc  is  to  be  lifted 
out.  It  will  operate 
a  small  induction  coil, 
and  will  furnish 
current  enough  to 
give,  with  a  properly 
made  coil,  a  severe 
shock.  It  is  about 
the  right  size  also 
for  many  useful  pur- 
poses. 

The  details  of  its 
construction  are  as 
follows :  Select  the 
jar  first,  as  the  size 
of  the  zinc  and  car- 
bon will  be  governed 
by  the  size  of  the  opening  in  the 
top  of  the  jar.  For  an  ordinary 
quart  jar  these  can  be  about  li 
inches  in  width,  the  carbons  6 
inches  long,  and  the  zinc  3  inches. 
Cut  a  round  block  of  wood  out  of 
J-inch  stuff,  just  large  enough  to 
fit  into  the  top  of  the  jar.  Soak 
it  in  hot  paraffin  wax,  and  bore 
a  J-inch  hole  through  the  centre 
of  it.  Now  take  a  piece  of  quite 
stout  sheet  brass,  and  cut  it 
about  3x1^  inches.  Drill  holes 
in  it,  as  shown  in  Fig.  2  ;  cut  the 
slits  lengthwise,  as  shown  by  the 
black  lines.  Now  bend  it  on  the 
dotted  lines,  so  that  it  will  assume 
the  shape  of  Fig.  3.  This  piece 
of  brass  is  shown  at  a  a  (Fig.  4),  which  also 
shows  the  office  it  performs,  that  of  holding  the 
carbons  in  place.  This  method  of  holding  the 
carbons  was  described  by  Lebaei  on  page  145, 
Vol  III.  (Old  Series).  He  also  described  how 
to  fasten  the  carbons  to  the  wax  by  soldering ; 


) 


FIG. 4-.  Sectional  view  of  Battery 


but  screws  do  just  as  well,  and  are  easier  to 
handle.  Use  small  machine  screws  and  nuts,  as 
shown  in  the  drawing.  In  the  meantime,  have 
another  wood  block  cut  out,  just  large  enough  to 

fit  inside  the  cover  of 
the  jar,  and  have  it 
well  soaked  with  hot 
wax.       The    relative 
position  of  this  block 
and     the     one     pre- 
viously mentioned,  to 
each  other,  is  shown 
in  Fig.  4,  the  screws 
connecting  the  bind- 
ing  posts    with    the 
brass      frame  -  work 
holding      them      to- 
gether.    Now  fasten 
the   brass,    with   the 
carbon    attached,    to 
the     wood     top     by 
means  of  one  machine 
screw,  through  to  the 
binding  post  on  top, 
and    by    two     small 
screws  at  b.    This  gives  the  con- 
nection between  the  binding  post 
and  carbons,  as  well  as  fastening 
them   in   place.      It   should    be 
mentioned  that  the  hole  through 
the   centre   of    the   brass    plate 
should  be  made  larger  than  the 
hole  through  the  wood  top,  so  as 
to  prevent  any  false  connection 
between  the  carbons  and  the  rod 
which  holds  the  zinc. 

The  centre  post,  through  which 
the  rod  passes  that  holds  the  zinc, 
should  be  turned  out  of  ^-inch 
brass,  with  a  hole  through  the 
centre,  and  a  small  set  screw  in  the 
side.  It  should  then  be  soldered  to 
a  piece  of  sheet  brass  (o,  Fig.  4), 
which  forms  the  connection  between  it  and  the 
other  binding  post.  It  is  then  fastened  in  its 
place  on  the  cover  by  a  couple  of  small  screws 
and  the  machine  screw  which  holds  the  binding 
post.  All  that  remains  now  is  to  turn  a  fancy 
top  for  the  rod  holding  the  zinc,  and  cut  a  thread 


c 


FIC.3. 

Sectional  view  ufFia  2 
»hen  bent  to  :hape . 


82 


A    CRIB  FOR    THE    YOUNGSTER. 


on  the  other  end  to  fit  a  thread  cut  in  the  end  of 
the  zinc  plate.  Cut  this  latter  thread  before  the 
zinc  is  amalgamated,  as  it  will  be  difficult  to  do 
it  after  the  metal  is  made  so  brittle.  Put  the 
zinc  in  place,  and  connection  is  then  made  direct 
between  it  and  the  second  binding  post.  Cover 
all  the  exposed  brasswork  inside  with  hot  paraffin 
wax,  and  do  not  be  sparing  of  it.  Plaster  every- 
thing over  with  it,  to  protect  it  from  the  action  of 
the  battery  fluid,  which  soon  eats  up  brass  if  not 
well  protected.  Paint  the  screw  top  of  the  jar, 
which  will  probably  be  zinc  or  brass,  with  black 
japan,  inside  and  out;  and  when  put  together, 
your  battery  is  complete. 


A  CRIB   FOR   THE   YOUNGSTER: 

BEING  THE  SECOND  OF  A  SEEIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD   UTILITY. 

Bij  ED.   C.  ROE,    Jun.,    Silver    and    Honours  Medalist, 
City  and  Guilds  of  London  Institute. 


IriJ  MLST  looking  round  in  search  of  a 
BR  subject  for  my  next  paper  of  the 
^Bjfl  household  article  series,  my  eyes 
lighted  upon  a  couple  of  cribs,  which  I  had, 
some  time  ago,  the  pleasure  of  making. 

Now,  supported  as  I  am  by  the  opinion  of 
authorities  upon  the  subject,  namely,  that  these 
cribs  are  simply  invaluable,  and  would  not 
willingly  be  dispensed  with,  I  venture  to  draw 
attention  towards  this  subject,  more  especially  of 
those  persons  who  are  in  the  happy  possession 
of  an  occupant  for  it  when  completed. 

It  will  be  observed  that  it  is  so  constructed  as 
to  reduce  the  danger  of  falling  or  rolling  out  of 
bed  to  a  minimum.  This  alone  is  ample  recom- 
mendation, I  think  ;  but  when  we  add  to  this, 
its  extreme  portability,  and  the  ease  with 
which  it  can  be  taken  down  and  re-erected,  I 
venture  to  believe  that  the  verdict  before  re- 
ferred to  will  prove  a  not  very  large  bone  of 
contention. 

Doubtless  sufficient  has  been  said  by  way  of 
introduction,  and  therefore  it  will  be  as  well  if 
the  construction  of  our  crib  be  at  once  pro- 
ceeded with. 


The  first  thing  to  be  considered  is  the  material 
of  which  it  is  to  be  made.  We  may  use  deal  or 
pine,  which  can  be  either  painted  or  stained  and 
varnished.  If  expense  stands  not  in  the  way, 
hard  wood  is  good  and  substantial ;  but  if  pine  is 
used,  and  afterwards  stained  a  nice  clean  satin- 
wood  colour,  sized  and  varnished,  it  would  look 
extremely  neat  and  clean. 

From  the  drawings,  which  are  to  the  scale  of 
1  inch  to  a  foot,  it  will  be  seen  that  we  require 
to  make  two  sides,  as  at  a,  and  two  ends,  as  at  b; 
the  bottom  of  the  crib  is  formed  by  laths  running 
at  right  angles  to  the  sides. 

Have  you  set  out  full-sized  sections  ?  If  not, 
do  so.  As  I  have  said  many  times  before,  it  will 
pay  for  the  trouble. 

Below  is  given  a  tabulated  list  of  all  stuff 
required  for  the  completion  of  our  job.  All 
sizes — excepting,  of  course,  the  lengths — are 
finished  sizes,  so  that  all  the  stuff  can  be  cut 
out  and  prepared,  duly  face-marked,  and  laid 
aside  ready  for  setting  out  from  our  full-sized 
sections. 


NUMBER. 

LENGTH. 

WIDTH. 

THICK. 

FT.       IN. 

FT.     IN. 

IN. 

4 

3      4 

0     If 

1? 

Legs. 

4 

2      1 

0    2* 

1* 

End  rails. 

2 

1     10 

1    2 

f 

Panels. 

1 

12      0 

0    Of 

J 

Moulding. 

2 

4       1 

0    2J 

1* 

Top  rails. 

2 

4      1 

0    9 

1* 

Bottom  rails. 

2 

1       8 

0    2£ 

1* 

Stiles. 

14 

0      7 

0     1 

1 

Balusters. 

2 

4      0 

0    2 

1 

Lath  rails. 

10 

1       9 

0    2£ 

1 

Laths. 

Take  the  ends  in  hand  first,  set  out  the  mor- 
tises for  the  rails  on  the  legs,  setting  back  |  inch 
for  the  depth  of  the  plough  groove,  and  in  the 
case  of  the  top  rail  f  inch,  to  allow  for  the 
rounding  of  the  top  edge  ;  this  is  shown  full- 
size  at  I.  The  mortise  should  be  rV  inch  wide  ; 
after  mortising,  set  the  plough  to  proper  distance, 
and  plough  out  as  much  as  possible,  but  do  not 
forget  that  the  plough  groove  finishes  with  the 
mortises.  It  is  best  to  set  a  gauge,  and  run  a 
couple  of  lines  along,  as  the  end  portions  will 
require  chopping  out  with  a  chisel,  and  after- 
wards clearing  out  with  an  old  woman's  tooth  or 
router.     This  being  done,  the  rails  may  be  set 


A    CRIB  FOR    THE    YOUNGSTER. 


83 


2  0 


■   3 


H 


Y 


./  Section 
\i Moulding  at  g 


, 


4- 

9  0 

* 

na^ ! 

\ 

\ 

1 

~i~                t 

A 

A           Ji 

y 

WL 

-    i 

Section  tnrouan  a  b  Fig  A 


£  elevatton  Baluster        C 
I  n  i  1 1  ,  i i  I '    i  ■ :  1 1  ■ i  ill        i  i 1 1 1  i  1 1 : 1 


a  Crib  fof\  the  youngster 
ByE?C  RoeJun? 


L 


Slotted  Studs 
and  Plates 


ti&tmf^ 


V 


W 


iz.   -; 


Setting  Oac*  for  \ 

panel  Groove 


Zetting  t>BC* 
for  rourihea  e&qt 


Scale   jin-Ifi 


84 


A    CRIB  FOR    THE    YOUNGSTER. 


out,  the  tenons  cut  down,  and  then  ploughed, 
not  forgetting  that  the  same  setting  of  the  plough 
will  not  do,  as  the  rails  stand  back  from  the  face 
of  the  legs.  Round  the  top  edges  of  top  rails, 
and  chamfer  the  bottom  edges  of  bottom  rails, 
and  cut  the  shoulders  of  the  tenons.  Glue  up 
the  panels  to  width,  and,  when  dry,  cut  to  size 
and  plane  to  thickness,  f  inch,  testing  by  means 
of  a  mullet  or  gauge  made  by  ploughing 
diagonally  across  the  end  grain  of  a  piece  of 
stuff  with  the  same  iron  it  is  intended  to  use,  or 
has  been  used,  for  ploughing  the  legs  and  rails. 

The  ends  of  the  legs  require  to  be  turned ;  a 
full-size  elevation  showing  pattern  is  given  at  e. 
After  turning,  the  three  outer  edges  can  be 
chamfered  and  the  rails  fitted  ;  the  mortises  may 
or  may  not  run  through,  according  to  taste  ; 
personally,  I  think  it  preferable  to  run  them 
through,  as,  if  not  so  done,  pins  are  necessary, 
and  under  the  circumstances  would  scarcely  look 
well.  Before  finally  knocking  together,  clean 
up  the  outer  faces  of  the  rails  and  the  side  faces 
of  the  legs,  as  it  will  be  impossible  to  clean  off 
properly  when  together. 

The  ends  being  glued  up,  the  mouldings 
mitred  round,  and  placed  aside  to  dry,  we  may 
look  after  the  sides  ;  taking  the  stiles  we  require 
to  set  out  for  the  rails,  the  bottom  rail  it  will  be 
necessary  to  fix  with  double  tenons.  The  9  inches 
may  be  split  up  as  follows,  taking  from  the 
bottom  edge  2  inches  and  1\  inches,  the  2|  inch 
portions  being  the  tenons,  and  the  2  inches  the 
pieces  to  be  removed  to  within  £  inch  of  the 
shoulder  on  the  rails.  The  space  between  the 
rails  is  6£  inches,  and  then  we  come  to  the  mor- 
tise for  the  top  rail,  which  will  go,  still  taking 
from  the  bottom  edge  1&  inches  for  the  tenon, 
1  inch  for  the  haunching,  or  removed  portion. 
I  think  this  will  be  quite  clear  on  reference 
being  made  to  Fig.  1.  Set  out  the  rails  for 
tenoning,  marking  at  the  same  time,  on  the  two 
inner  edges,  centre  lines  for  baluster  holes  ;  cut 
the  tenons,  bore  the  holes  f  inch  and  about  |  inch 
deep,  to  receive  the  pins  on  ends  of  balusters, 
chamfer  edges,  and  fit  together.  After  placing 
balusters  in  position,  glue  up ;  when  sufficiently 
dry,  clean  off,  round  the  top  edge  as  per  section 
d,  shoot  the  bottom  edge  straight,  and  square 
the  ends. 


For  the  ledge,  which  forms  the  support  for 
the  ends  of  the  laths  to  rest  upon,  we  require 
twice  4  feet,  2  inches  by  1  inch.  These  are 
notched  out  in  2J  inch  notches,  as  at  c,  to  take 
end  of  laths,  and  are  screwed  securely  to  the 
inner  face  of  sides,  the  bottom  edges  of  both 
side  and  rails  being  level. 

At  the  ironmongery  stores  we  can  obtain 
slotted  studs  and  plates,  as  sketched  at  g.  Of 
these  we  require  four  pairs  and  screws  ;  these 
are  fixed  with  the  studs  let  in  flush  about  the 
position  indicated  in  Fig.  a,  and  the  plates  let 
also  in  flush  in  legs  in  corresponding  positions. 

The  crib  may  now  be  put  together,  and  after 
having  levelled  all  round,  mark  and  cut  off  the 
bottoms  of  legs  preparatory  to  fixing  the  cup 
castors,  of  which  a  set  will  be  required  square 
in  the  cup.  "When  castors  are  fitted  and  fixed, 
erect  again  and  fit  the  ten  bottom  laths  into 
place  hand-tight ;  after  so  doing,  mark  them 
with  chisel  marks. 

Having  arrived  so  far,  the  remaining  opera- 
tions consist  of  beautifying  with  paint  or  varnish, 
as  individual  taste  dictates ;  and  after  putting  in 
the  crib  suitable  clothing  to  place  therein  the 
future  little  occupant,  who  doubtless  will  be  as 
delighted  as  anybody  with  the  new  piece  of 
furniture,  although  possibly  from  a  different 
point  of  view. 

Should  any  minor  detail  have  been  passed 
over,  I  think  reference  to  the  drawings  and 
sketches  should  remove  any  doubt  that  may 
have  arisen. 


A  Good  Mountant. — The  following  mountant 
is  strongly  recommended  by  Mr.  W.  "Willis  for 
delicate  prints: — "Weigh  out  2  ounces  of  the 
best  arrowroot,  mix  it  into  a  thick  paste  with  2 
ounces  of  hot  water,  and  then  add  18  ounces 
of  boiling  water,  stirring  briskly.  Soak  half  an 
ounce  of  gelatine  in  water  until  it  is  thoroughly 
soft  and  swollen.  Stir  this  swollen  gelatine  into 
the  hot  arrowroot,  with  which  it  will  quickly 
incorporate  itself.  Add  ten  or  twelve  drops  of 
pure  carbolic  acid.  This  forms  a  stiff  jelly  when 
cold,  and  it  should  be  used  cold,  being  brushed 
on  to  the  back  of  the  prints,  or  applied  to  them 
with  a  sponge. — Photo.  News. 


A   SIMPLE  FRET-SAW  FOR  LATHES. 


85 


A    SIMPLE    FRET-SAW 
LATHES. 

By  F.  J.  G. 


FOR 


10ME  seven  or  eight  years  ago  the  writer 
constructed  a  fret-sawing  attachment 
to  use  on  a  3-inch  hench  lathe. 
Having  disposed  of  the  lathe,  with  fret-saw, 
etc.,  and  purchased  a  larger  lathe,  he  set  to  work 
to  replace  the  fret-sawing  appliance,  which  was 


FIG.    I. — GUIDE   FOR   SLIDING   PIECE. 

found  to  be  extremely  useful  for  a  variety  of 
purposes  ;  and  it  struck  him  that  as  the  machine 
had  not,  to  his  knowledge,  been  described  in 
AiiATzrn  "Work — or,  in  fact,  any  other  publica- 
tion— he  would  send  a  description  of  the 
same  for  the  benefit  of  his  fellow-readers. 
Amongst  its  many  advantages  may  be 
mentioned  that  it  has  a  true  vertical  stroke, 
simplicity  of  construction,  and,  what  is 
probably  more  important  to  many  of 
"ours,"  the  cost  of  construction  is  such 
as  to  bring  it  within  the  reach  of  all.  In 
the  following  description,  wood  is  given 
as  the  material  of  which  the  machine  is 
constructed ;  but,  of  course,  it  could  be 
made  in  metal  by  those  having  the  ability 
— and  inclination — to  do  so.  The  writer 
may  remark,  however,  that  he  had  in  use 
for  about  seven  years  a  similar  machine 
constructed  entirely  of  wood,  and  which 
bevel!  gave  every  satisfaction,  being  eventually 


disposed  of,  in  good  working  order,   together 
with  the  lathe  to  which  it  was  fitted. 

The  cost  of  the  complete  apparatus,  made  as 
described,  will  not  exceed   half-a-crown.     The 


FIG.    3. — SAW    FRAME    FIXED     ON 
SLIDING    PIECE. 


Xs, __. , ,, ,  v <-> 


1 


materials  required  are  a  piece  of  sound  dry  wood, 
6  inches  by  30  inches,  and  1  inch  thick,  a  piece 
of  brass  A  inch  thick,  a  few  screws,  and  a 
common  iron  or  steel  fret-saw  frame.  Having 
neatly  planed  the  wood,  cut  off  two  pieces  6 
inches  long,  and,  of  course,  the  full   width  of 


FIG.  4. — FRET-SAW  ATTACHMENT  FIXED   ON    LATHE. 

the  board.  These  two  pieces,  which  may  be 
marked  a  and  u,  are  to  be  joined  together  at 
right  angles,  either  by  dovetailing  or  screws 
(see  Fig.  \).  Next  cut  from  the  plank  a  piece  5 
inches  long  (o),  and  screw  this  to  the  right-angled 

vol.  in.  (n.s.)— n 


86 


HOT    WATER  FITTING  FOR   SMALL  HOUSES. 


piece  previously  described.  This  will  brace  them 
together,  and  give  rigidity  to  the  whole.  Again 
falling  back  upon  the  "  stock  "  piece,  saw  off  a 
strip  1  inch  wide  and  1  foot  long.  This  is  to  be 
bevelled  on  one  edge  ^(Fig.  2),  and  then  cut  in 
half.  These  are  now  to  be  screwed  to  the  face 
of  the  upright,  a  (Pig.  1),  3  inches  apart,  bevelled 
sides  inwards.  Another  piece  of  wood,  4  inches 
long,  is  now  to  be  carefully  bevelled  on  the  sides, 
so  as  to  slide  easily,  but  without  shake,  between 
the  two  pieces  just  described.  The  back  of  this 
sliding  piece  may  with  advantage  be  reduced 
slightly  in  thickness  to  within,  say,  f  inch  of 
each  side,  in  order  to  reduce  friction  as  much  as 
possible  (Fig.  3).  Prepare  a  piece  of  wood, 
6  inches  long,  to  fit  nicely  between  the  bed  of 
the  lathe,  and  screw  it  to  the  piece  b  (Pig.  1). 
A  hole  bored  through  the  two,  to  take  a  long 
screw  and  nut,  to  clamp  the  whole  to  the  lathe- 
bed,  completes  the  machine  so  far. 

Again  taking  in  hand  the  sliding  piece  (Fig.  8), 
\\  inches  from  one  end,  a  slot  is  cut,  say,  21- 
inches  long  and  \  inch  wide.  Over  this  is  screwed 
a  piece  of  brass,  also  with  a  slot,  to  correspond, 
or,  if  preferred,  two  strips  of  brass  may  be 
used,  separated  from  each  other  \  inch.  The 
metal  saw  frame  is  now  required.  Remove  the 
handle,  and  cut  off  the  tang.  Drill  two  holes  in 
the  arm,  near  the  clamp,  and,  with  screws,  fasten 
it  securely  to  the  sliding  piece  of  the  machine, 
at  such  a  distance  that  when  the  slot  in  the 
latter  is  1  \  inches  above  the  level  of  the  lathe 
centres,  the  lower  clamp  of  the  saw  does  not 
project  above  the  part  a  (Pig.  1). 

A  table,  and  means  of  connecting  the  machine 
with  the  mandrel,  are  all  that  is  now  required  to 
finish  the  apparatus.  The  table,  which  may  be 
either  round  or  square,  is  divided  by  a  line 
across  its  centre  into  two  parts,  and  a  small  hole 
bored  to  allow  the  saw  blade  to  pass  easily 
through.  Fix  a  saw  in  the  frame,  passing 
through  the  hole  just  mentioned,  and,  after  ad- 
justing it  so  that  the  saw  will  travel  accurately 
up  and  down,  secure  the  table  in  place  with  a 
few  screws.  If  a  tilting  table  be  preferred, 
instead  of  screws  two  hinges  should  be  used,  one 
on  each  of  the  bevelled  side  pieces  of  the  up- 
right, and  to  the  underneath  part  of  the  table. 
A.  curved  piece  of  brass  plate,  screwed  to  the 


table,  and  a  thumbscrew,  will  enable  any  angle 
to  be  obtained  (see  Fig.  4). 

To  connect  the  machine  with  the  lathe,  a 
small  face-plate  is  put  on  the  mandrel,  and  an 
iron  or  brass  pin,  \  inch  in  diameter,  screwed 
into  it  at  about  1  \  inch  from  the  centre.  This 
will  give  a  stroke  of  2^  inches.  In  use,  the 
machine  is  placed  on  the  lathebed  and  pushed 
up  towards  the  head-stock  until  the  pin  (which 
may  project  about  \\  inch  from  the  face-plate) 
enters  the  slot  in  the  upright  sliding  piece.  The 
machine  is  then  securely  clamped  to  the  bed  by 
the  screw  and  nut.  On  setting  the  lathe  in 
motion,  the  fret-saw  will  rise  and  fall  with  a 
perfectly  vertical  stroke.  The  pin  and  slot  should 
be  well  oiled,  and  the  wood  slide  should  have 
some  plumbago  or  blacklead  well  rubbed  on  it, 
but  no  oil. 

The  apparatus  could,  of  course,  be  easily 
adapted  for  use  on  a  separate  stand,  such  as  that 
of  an  old  sewing  machine,  which  may  now  be 
purchased  at  a  very  low  price. 


HOT  WATER  FITTING  FOR  SMALL 
HOUSES. 

By  L.  L. 


-Scope  of  these  Papers — Theory  of  Hot  Water 
— Circulation — An  Interesting  Experiment — The 
Tank  System  Explained — Best  Form  of  Boiler — 
Cost. 

N  this  series  of  papers  it  is  intended  to 
give  a  clear  and  practical  explanation 
of  the  theory  and  practice  of  hot 
water  work  as  applied  to  domestic  use;  and 
when  I  say  for  domestic  use,  I  mean  for  supply- 
ing a  bath,  nursery,  housemaid's  sink,  and  for 
giving  a  constant  supply  of  hot  water  to  the 
kitchen,  or  to  any  part  of  the  house  where  it 
may  be  wanted.  I  may  also  say  that  I  shall  not 
waste  time  and  space  on  anything  too  ambi- 
tious, but  just  describe,  as  clearly  and  simply  as 
possible,  such  systems  of  hot  water  work  as  will 
be  suitable  for  small  and  moderate  sized  houses 
or  villas.  Many  will,  no  doubt,  attempt  their 
own  work  ;  and  those  who  do  not,  and  employ 
someone  else  to  do  it  for  them,  will,  I  have 
no   doubt,    after  reading   and    studying    these 


HOT   WATER  FITTING  FOR   SMALL   HOUSES. 


87 


articles,  have  a  clearer  understanding  of  the 
principles  of  hot  water  work  than  they  had 
before. 

The  value  of  a  constant  supply  of  hot  water 
in  a  dwelling  where  the  necessity  (I  will  not 
say  the  luxury)  of  the  bath  is  appreciated,  can 
hardly  be  over-estimated ;  and  now  that  the 
necessary  materials  and  appliances  are  to  be  had 
at  such  moderate  prices,  it  is  a  matter  of  sur- 
prise to  me  that  so  few  people,  comparatively 
speaking,  possess  the  convenience  of  a  bath- 
room and  hot  water  on  the  upper  floors  of  their 
houses.  It  shall  be  my  aim  to  point  out  the 
simplest  plans,  and  to  help  in  every  way  that  I 
can  towards  this  very  desirable  object. 

In  the  first  place,  a  few  words  will  be 
necessary  to  explain  the  theory  of  the  subject, 
as  I  find  that  a  great  many  people  are  quite  in 
the  dark  about  it ;  even  some  who  have  it  in 
their  houses  do  not  understand  "  how  it  works." 
Most  people  are  aware  that  bath-rooms  are 
supplied  with  hot  water,  and  also  that  there  are 
taps  and  sinks  in  various  parts  of  the  house, 
of  which  hot  and  cold  water  can  be  drawn  off. 
It  is  also  known  to  some,  that  in  many  cases — in 
fact,  in  all  small  systems — the  heat  is  obtained 
from  the  kitchen  range,  in  some  way  or  other  ; 
but  beyond  this  they  have  not  the  remotest  idea. 
Let  me  try  and  explain. 

Many  of  my  readers  have,  no  doubt,  per- 
formed the  feat  of  carrying  the  tea-kettle  round 
the  room  on  the  palm  of  the  hand,  as  it  was 
taken  boiling  off  the  fire,  to  illustrate  the  fact 
that  the  hottest  part  of  a  vessel  of  hot  water  is 
at  the  top,  and,  per  contra,  the  coldest  part  at 
the  bottom.  Well,  this  is  just  the  whole  secret 
of  hot  water  circulation.  The  water  in  the 
boiler  is  heated  by  the  fire,  and  as  it,  gets  hot  it 
is  rendered  lighter,  and  being  displaced  by  the 
heavier  cold  water,  it  rises  to  the  top  of  the 
boiler,  whence  it  flows  to  any  part  of  the  house  by 
means  of  pipes,  returning  back  to  the  boiler,  get- 
ting heated  again,  and  thus  circulating  round  and 
round  the  system  as  long  as  the  fire  is  kept  going. 
"How  very  simple,"  says  someone,  "  I  had  no 
idea  that  this  was  all  there  was  in  it."  Yes,  it 
is  very  simple  indeed,  if  the  affair  is  properly 
fitted  and  fixed ;  but  there  have  been  so  many 
failures,  owing  to  bad  work  and  ignorance,  of 


the  principles  of  hot  water  fitting,  that  many 
people  have  been  disgusted  with  the  trouble  and 
expense  that  they  have  been  put  to,  and  have 
given  the  work  a  bad  name. 

Let  the  would-be  amateur  hot  water  fitter 
work  out  the  following  little  experiment,  and 
he  will  then  have  a  very  clear  idea  of  what  is 
meant  by  the  circulation  of  hot  water.  Notice 
Fig.  1  ;  this  represents  a  simple  flow  and  return 
between  one  vessel  and  another,  b  we  will  call 
the  boiler,  c  the  circulating  tank,  f  the  flow  pipe, 
k  the  return  pipe,  called  for  shortness  flow  and 
return. 

Take  any  small  tin  box  that  will  hold  water, 
solder  on  a  top,  and  bore  two  holes  in  it ;  or, 
better  than  that,  punch  the  holes  before  putting 
the  top  on ;  let  the  holes  be  2  or  3  inches  apart, 
the  size  of  the  holes  to  be  \  inch  or  f  inch.  Get 
another  box,  say  two  or  three  times  the  size  of 
the  first  one ;  this  need  not  have  any  top  fixed 
on  it  for  this  experiment,  though  in  actual 
practice  it  would  be  covered  in  ;  punch  two  holes 
in  the  bottom  the  same  size  as  the  previous 
ones ;  now  take  two  pieces  of  compo  pipe  any 
length  to  suit  your  convenience,  from  1  foot  to 
6  feet — it  is  quite  immaterial.  Let  the  pipe,  e,  go 
to  within  \  inch'  of  the  bottom  of  the  boiler,  and 
solder  it  round  to  the  top  ;  now  connect  it  to  the 
hot  water  or  circulating  tank,  by  letting  it 
through  the  bottom  about  \  inch,  not  more  ;  but 
less  will  not  matter.  Now  fix  the  flow  pipe  by 
slipping  it  up  into  the  circulating  tank  1  inch  or 
\\  inches,  according  to  the  depth  of  the  tank. 
Let  the  other  end  come  over  the  hole  in  the 
boiler,  and  solder  round  both  pipes ;  this  pipe 
must  not  be  put  through  the  top  of  the  boiler,  or 
the  water  would  not  circulate  properly.  Now 
rig  it  up  so  that  you  can  apply  heat  to  the 
boiler,  either  by  gas,  oil,  or  stove ;  fill  the 
arrangement  with  cold  water,  by  pouring  it  in  at 
the  top  till  within  an  inch  of  the  top  of  the 
circulating  cistern.  If  now  you  apply  heat  to 
the  boiler,  and  watch  the  circulating  tank,  you 
will  be  able  to  see  the  circulation ;  you  will 
observe  the  hot  water  flow  across  the  tank  to 
the  return  pipe,  and  the  water  in  the  tank  will 
gradually  get  hotter  and  hotter  as  it  keeps 
going  through  the  boiler,  till  it  reaches  nearly 
or    quite    to   boiling    point.     This    is    a    very 


88 


HOT   WATER  FITTING  FOR   SMALL   HOUSES. 


interesting  experiment,  and  well  worth  carrying 
out.  I  think  myself,  that  a  single  experiment 
worked  out  teaches  one  far  more  than  pages 
of  reading  alone  ;  throwing,  as  it  often  does,  a 
light  on  the  subject  that  the  text  has  failed 
to  do. 

Fig.  2  gives  a  still  clearer  and  more  detailed 


these  will  be  given  farther  on.)  It  will  also  be 
noticed  that  the  draw-off  pipes  to  bath-room, 
nursery,  etc.,  are  taken  out  of  the  flow;  this  is 
because  the  hottest  water  is  in  this  pipe,  e  is 
called  an  expansion  pipe  ;  its  use  is  to  allow  the 
air  to  escape  in  filling  up  the  apparatus,  and  to 
act  as  a  vent  for  the  steam.     It  is  either  carried 


fig  5. 
Pin  Drill 


S   P 


To  Nursery  Ac. 


Bathroom 


FIG.    2.  — A    SIMPLE  HOT    WATER    SYSTEM. 


idea  of  a  hot  water  sj'stem,  showing  how  the 
water  is  supplied  and  drawn  off,  etc.  h  re- 
presents a  closed  circulating  cistern  with  man- 
hole and  cover,  m.  s  is  a  supply  cistern  with 
ball  valve,  b,  to  regulate  the  supply  if  from 
the  company's  mains ;  if  fed  from  a  pump, 
this  would  not  be  wanted,  o  is  an  overflow 
pipe  to  guard  against  accident,  in  case  the  ball 
valve  should  get  out  of  order  and  leak ;  s  p  is  a 
syphon  pipe  connecting  the  cold  water  to  the 
S3rstem.    (Fuller   details  and  particulars   of   all 


through  the  roof,  or  bent  over  the  cold  water 
tank,  as  shown  in  sketch. 

These  sketches  will,  I  think,  with  the  remarks 
I  have  made,  give  the  reader  a  fairly  clear  idea 
of  this  style  of  hot  water  fitting.  It  is  known 
as  the  tank  system ;  the  hot  water  circulating 
cistern  being  in  the  roof,  or  on  the  highest 
floor. 

There  is  another  system  which  I  shall  de- 
scribe later  on,  called  the  "  cylinder  system," 
in     which     the     circulating    tank,    which     is 


HOT   WATER  FITTING  FOR   SMALL   HOUSES. 


89 


cylindrical    in  form,  is  placed  as  near   to   the 
boiler  as  convenient. 

Having  given  a  general  idea  of  the  tank  sys- 
tem, we  will  now  consider  it  in  detail,  describing 
each  part  of  the  apparatus,  and  the  way  to  fit  it 
up.  "We  will  first  take  the  boiler,  as  beiDg, 
perhaps,  the  most  important  item.  There  are 
several  different  forms  of  boiler,  but  for  our 
purpose  it  will  only  be  necessary  to  mention 
two  of  the  most  useful,  viz.,  the  saddle  boiler 
(Fig.  3)  and  the  boot  boiler  (Fig.  4) ;  they  are 
made  of  iron  plate,  either  welded  or  rivetted. 
Cast  iron  boilers  are  of  no  use  for  this  kind  of 
work,  but  copper  is  sometimes  used  for  best 
work ;  though  the  cost  is  very  great  compared 
with  wrought  iron,  which  is  quite  good  enough 
for  all  purposes.  The  saddle  form  is  very 
suitable  for  ordinary-sized  dwellings,  but  for 
larger  houses,  and  where  the  range  is  powerful 
enough,  the  boot  form  is  preferable.  The 
latter  is  the  most  expensive,  ranging  in  price 
from  about  £2  upwards.  The  saddle  form  is 
cheaper ;  the  smallest  size,  which  is  about  8J 
inches  high,  7|  inches  across  top,  and  8J  inches 
across  bottom,  by  9  inches  wide,  costing  from 
20s.  to  25s.,  according  to  the  make  ;  and  each 
size  larger  (which  is  about  1  inch  each  way, 
except  the  height,  which  remains  the  same  for 
several  sizes)  increasing  about  2s.  6d.  I  give 
here  the  names  of  some  of  the  principal  makers 
of  these  kinds  of  boilers :  they  are  Messrs  Lumby 
and  Sons,  Halifax  ;  Hartley  and  Sugden,  Leeds  ; 
and  Sidney  Flavel, Leamington.  Messrs.  O'Brien, 
Thomas,  and  Co.,  228  and  229,  Upper  Thames 
Street,  London,  supply  saddle  boilers  for  bath 
heating  purposes  at  very  cheap  rates,  the  small 
saddle  boiler,  of  which  I  have  just  given  the 
sizes,  being  quoted  at  less  than  £1  in  their  list, 
and  other  sizes  in  proportion.  I  cannot  speak 
as  to  quality,  as  I  have  not  tried  them,  but  I 
believe  them  to  be  all  right,  though  perhaps 
not  so  heavy  as  those  supplied  by  the  other 
makers.  Whichever  form  is  fixed  upon,  the 
first  thing  to  do  will  be  to  drill  and  tap  the 
boiler  to  the  size  of  pipe  that  is  going  to  be  used. 
This  size  of  pipe,  again,  is  a  subject  of  choice  ; 
some  people  have  put  in  hot  water  systems 
with  as  small  a  flow  and  return  as  f  inch,  and 
\  inch  draw-offs.     Now  this  is  no  use  at  all,  as 


the  pipes  will  soon  become  choked  with  fur,  and 
cause  no  end  of  trouble.  I  recommend  1  inch 
flow  and  return  ;  or  if  expense  is  no  object,  \\ 
inch,  and  f  inch  draw  off. 

Whichever  size  you  decide  to  use,  2  holes 
must  be  drilled  in  the  boiler  with  a  drill  that 
will  just  admit  the  end  of  a  tap  for  the  size  pipe 
you  are  using.  The  best  way  to  proceed  is  to 
drill  a  small  hole  first,  say  \  inch,  with  an 
ordinary  drill,  and  then  finish  with  what  is 
called  a  pin  drill  (see  Fig.  5). 

With  regard  to  the  position  of  the  holes,  I 
have  shown  them  at  h  (Fig.  3),  for  the  boot 
boiler,  but  for  the  saddle  boiler  it  is  prefer- 
able to  drill  one  on  the  top,  and  the  other 
at  the  back  or  side,  about  1  inch  from  the 
bottom.  The  drilling  will  have  to  be  done 
under  a  machine,  or  with  the  ratchet  brace  ; 
a  thread  is  then  put  in  by  means  of  a  tap 
and  wrench. 

It  is  sometimes  considered  best  to  drill  a 
third  hole  near  the  bottom  of  the  boiler,  to 
insert  a  \  inch  pipe  for  a  draw-off  to  empty  the 
arrangement  for  cleaning  out  the  boiler.  If 
this  is  done  (and  I  should  recommend  it),  there 
should  be  no  tap  fixed  to  this  pipe — simply  a 
plug  screwed  into  the  socket ;  as  if  there  is  a  tap, 
people  will  go  to  it ;  and  I  always  insist  upon  all 
draw-off  taps  being  taken  out  above  the  top  of 
the  boiler,  so  that  in  case  of  a  stoppage  of 
the  supply  of  cold  water,  there  would  be  no  fear 
of  the  boiler  being  drawn  empty  before  it  was 
discovered  ;  and  many  a  boiler  has  been  damaged 
in  this  way.  If  a  plug  is  inserted  instead  of  a 
tap,  the  man  who  cleans  out  the  boiler  can 
easily  take  it  out,  and  replace  it  when  his  work 
is  done.  If  this  pipe  is  not  put  in,  and  all 
draw-off  taps  are  taken  out  above  the  boiler,  as  1 
have  described,  there  will  be,  of  course,  a 
certain  amount  of  water  that  will  run  out  all 
over  the  place  when  the  manhole  cover  is  lifted; 
that  is  the  reason  I  advise  it  to  be  put  in.  It 
can  be  led  out  to  any  convenient  place  below  the 
level  of  the  boiler. 

The  next  thing  to  consider  is  to  fit  up  two 
connections,  and  to  screw  them  into  the  boiler, 
and  to  prepare  and  pack  the  manhole  joints  : 
this,  however,  must  be  deferred  till  the  next 
chapter. 


90 


GONG   STAND  IN  BAMBOO. 


GONG  STAND  IN  BAMBOO. 

By  ELECTRON. 


^  ANY  useful  and  ornamental  articles  are 
now  made  in  bamboo,  and  although 
their  appearance  is  very  light  and 
fragile,  yet,  if  the  joints  are  well  made,  they 
will  stand  a  good  amount  of  wear.  The  work 
is  very  suitable  for  amateurs,  as  it  requires 
very  few  tools  and  very  little  finishing,  except 
rubbing  with  polish  or  glaze.  For  tools,  a  few 
boring  bits,  a  saw,  one  or  two  round  or  half- 
round  files,  and  a  knife,  will  be  found  sufficient. 
The  gong  stand  now  to  be  described  will  be  a 
very  good  article  to  commence  with.  Fig.  1 
shows  the  stand  complete,  with  gong  and  beater ; 
the  upright  rails  at  each  side  are  2  feet  9  inches 
high,  and  l£  inches  diameter  ;  the  full  width 
outside  is  22  inches ;  the  pieces  for  the  feet  are 
10  inches  long,  and  spread  out  to  12  inches  wide 
outside.  The  feet  should  be  first  fitted  to  each 
upright,  and  in  order  to  get  the  bevels  for  the 
joints,  draw  them  out  full  size,  and  the  bevels 
can  then  be  taken  from  the  drawing.  The  top 
ends  must  be  hollowed  to  fit  the  uprights  ;  then 
fix  in  the  bottom  of  each  a  wood  peg  3  inches 
long,  glued  in  ;  also  fix  in  the  bottom  of  each 
upright  a  wood  peg  reaching  above  where  the 
feet  fit  on  ;  these  pegs  will  also  prevent  dirt  or 
insects  getting  into  the  feet.  Then  bore  a  §  inch 
hole  in  the  inside  of  each  foot,  and  through  the 
upright ;  iu  this  the  cross  piece  is  fixed,  which 
will  stay  the  feet  firmly  together,  the  joints  are 
glued,  and  the  top  end  of  the  feet  are  nailed  by 
wire  nails,  which  will  go  into  the  pegs,  and  fix 
them  firmly ;  the  pegs  should  be  made  of  very 
dry  wood.  Then  bore  four  holes  in  the  inside 
of  each  upright  for  the  four  cross  rails,  making 
them  exactly  in  line,  and  the  same  distance 
apart  in  both  uprights,  so  as  to  keep  the  cross 
rails  parallel ;  the  top  rail  is  about  2  inches 
below  the  top  end  of  upright,  and  the  cross 
rails  about  4  inches  apart,  measuring  from 
the  centres.  Then  cut  the  four  cross  rails  to  one 
length,  and  hollow  the  ends  to  fit  the  uprights, 
and  fix  a  wood  peg  in  each  projecting  1  inch, 
except  the  top  rail,  which  must  project  2  inches, 
to  take  the  projecting  piece  at  the  outside,  as 


shown  in  Fig.  1  ;  the  top  holes  in  the  uprights 
will  also  have  to  be  bored  through,  to  allow  the 
pegs]  to  pass  through.  The  two  sets  of  cross 
rails  must  have  five  |  inch  holes  bored  in  them, 
and  rails  of  §  inch  in  bamboo  fixed  and  glued 
between  them,  keeping  the  centres  of  rails 
4  inches  apart.    Then  glue  the  cross  rails  to  the 


FIG.   I.— GONG   OTAND. 


FIG.  2. — SECTION  OF  JOINT. 

uprights,  being  careful  in  putting  them  together 
that  the  frame  is  not  twisted ;  a  wire  nail  may 
be  put  into  the  joints  to  keep  all  firm. 

Then  cut  out  and  hollow  the  ends  of  the  two 
projecting  pieces  on  the  outer  ends  of  the  top 
rail,  and  glue  these  on  the  ends  of  the  pegs 
projecting  through  the  uprights,  making  the 
projection   equal   to   that   of    the   uprights.    A 


WOOD  ENGRAVING  FOR  AMATEURS. 


91 


reference  to  Fig.  2,  which  is  a  section  of  the 
joint,  will  make  this  clearer ;  the  dark  shaded 
portion  is  the  peg,  the  lighter  shaded  portion  is 
the  upright ;  and  the  unshaded  portion  is 
the  cross  rail.  Then  cut  out  the  two  angular 
pieces  on  the  top ;  these  are  the  same  size  as  the 
cross  rails,  and  are  jointed  at  the  top  in  the 
same  manner  as  shown  on  Fig.  2,  except  that 
the  joint  is  on  the  angle  instead  of  being 
square.  As  this  cannot  he  bored  with  a  centre- 
bit,  it  may  be  bored  with  a  gimlet,  and  enlarged 
with  knife  and  file,  or  it  may  be  burnt  out  with 
a  hot  iron,  taking  care  not  to  scorch  the 
outside.  The  lower  ends  are  hollowed  to  fit  the 
cross  rail,  and  are  glued  and  nailed  with 
wire  nails. 

The  projecting  ends  of  the  uprights  and  cross 
rails  must  be  fitted  with  turned  pieces 
of  wood,  to  coyer  the  holes  in  the  ends, 
or  pieces  may  be  cut  with  a  knife,  and 
smoothed  with  a  file  ;  they  should  be  stained 
and  varnished,  and  fixed  with  glue  and  wire 
nails.  Then  clean  off  any  surplus  glue  from 
the  joints  with  a  damp  sponge  or  cloth,  and 
rub  the  whole  over  with  polish  or  glaze. 

The  beater  can  be  made  of  wool,  tightly 
wrapped  on  the  shank  (which  may  be  a  piece 
of  i  inch  bamboo),  and  covered  with  soft  white 
leather,  similar  to  the  cover  of  a  ball ;  the  beater 
is  hung  by  a  cord  to  a  hook  or  ring  in  one  of 
the  uprights.  The  gong  is  suspended  by  two 
cords  from  the  cross  rail,  and  should  be  9  or  10 
inches  diameter. 


Foe  Behoving  Old  Putty  which  has  become 
hard  from  sashes  and  similar  places,  petroleum 
oil  is  recommended  instead  of  muriatic  acid  or  oil 
of  vitriol  often  used.  Three  coats  of  the  petroleum 
over  old  putty  will,  it  is  said,  penetrate  effectively 
into  the  pores  of  the  material,  and,  dissolving 
the  hard  linseed  oil,  restore  the  putty  to  its 
original  softness.  In  about  three  hours  from 
the  application  of  the  first  coat  of  petroleum  it 
is  possible  to  cut  the  putty  with  the  point  of 
a  knife  with  as  much  ease  as  though  the  sash 
had  been  glazed  only  a  day  or  two  previously. 
— Builder  and  Woodworker. 


WOOD     ENGRAVING 
AMATEURS. 


FOR 


By  AN  AMATEUR   WOOD  ENGRAVER. 


II.— Preparing  the  Tools — Pad  or  Sand  Bag — Eye- 
glass and  Stand  —  Ink  Dabber  —  Drawing  on 
Wood. 

Preparing  the  Tools.- — The  tools  should  be 
ground  on  an  ordinary  grindstone  to  the  proper 
angle,  and  then  carefully  finished  off  on  a  fine 
oil-stone.  The  line  from  a  to  c,  in  Fig.  9,  shows 
about  the  proper  angle  to  grind  them.  The 
tint  tools  may  be  ground  to  a  long  bevel, 
represented  by  the  line  d  to  E  in  the  Fig.  This 
makes  them  less  clumsy,  without  weakening 
them.  "When  bought,  the  tint  tools  all  have 
sharp  edges,  and  these  should  be  taken  down  to 
different  widths  by  rubbing  them  over  an  oil- 
stone so  that  the  tools  will  cut  lines  of  different 
widths.  Leave  No.  1  sharp ;  from  No.  2  take 
off  just  a  little  ;  from  No.  3  a  little  more  ;  and  so 
on,  taking  care  to  do  it  evenly  and  to  preserve 
the  points.  Fig.  10  shows  the  lines  the  tools 
should  cut  when  finished.  It  is  better  to  let  a 
good  tool  sharpener  do  this,  as  well  as  grind 
down  the  tools  the  first  time,  although  anyone 
can  do  it  by  being  careful.  Upon  the  sharpness 
of  the  tools  depends  the  ease  with  which  the 
work  may  be  done,  and  too  much  care  cannot  be 
exercised  in  their  preparation.  In  laying  them 
down,  look  well  that  the  fine  points  are  not 
broken  off ;  a  good  way  to  prevent  this  is  to 
keep  the  tools  on  a  cloth. 

Having  the  tools  all  sharpened  and  ready  for 
use,  we  will  proceed  to  the  other  appliances 
needed  before  commencing  work  in  earnest. 
First  is  the 

Pad  or  Sand  Bag. — A  pad  will  be  necessary 
on  which  to  hold  the  block  while  engraving  it, 
so  that  it  may  be  easily  turned  about.  This 
should  be  made  of  leather,  and  filled  with  fine 
sand.  To  make  it,  take  a  piece  of  soft  leather, 
and  strike  out  two  circles  5  or  6  inches  in 
diameter  with  your  dividers ;  with  a  sharp 
pointed  knife  cut  these  circular  pieces  out  and 
sew  them  together  around  the  edges,  the  smooth 
side  of  the  leather  outside,  with  a  waxed  thread 
or  a  "  waxed  end,"  as  the  shoemaker  calls  them, 


92 


WOOD  ENGRAVING  FOR  AMATEURS. 


sewing  near  the  edge  all  around,  and  leaving  an 
inch  or  so  open  (see  Fig.  11).  Do  not  cut  off  the 
threads,  hut  leave  enough  of  them  hanging  to 
finish  sewing  the  open  space.  Then  with  the 
aid  of  a  paper  funnel  fill  the  pad  with  fine  sand, 
working  it  around  so  that  the  sand  will  hulge  it 
out  as  in  Fig.  12,  which  shows  the  pad  complete. 
Work  in  as  much  sand  as  possible,  and  then  sew 
up  the  open  space.  The  longer  the  pad  is 
in  use  the  more  it  will  conform  to  the  block, 
and  the  more  convenient  it  will  become.  It 
can  be  bought  ready  made  if  one  does  not 
care  to  make  it. 


be  bought.  Fig.  1 6  shows  one  such  as  can  be 
bought  ready  made,  and  the  glass  can  be  raised 
or  lowered  or  held  at  any  angle  by  its  use. 
Fig.  17  shows  another,  not  quite  so  handsome, 
but  equally  as  serviceable.  For  a  base,  use 
lead  or  a  metal  shell  filled  with  lead.  For  the 
upright,  use  pretty  large  wire,  and  for  the  arm, 
a,  several  sizes  smaller.  Take  a  good-sized  cork 
stopper,  and  stick  the  wires  through  it  as  in  the 
engraving ;  form  a  circle  with  the  plyers  at  one 
•end  of  the  arm,  a,  for  the  glass,  and  your  stand 
is  complete  and  ready  for  service. 

Ink  Bobber. — The  ink  dabber  is  a  pad  of  fine 


FIC.  9.  Showing  Angles  at  whichTools  should  be  ground 


F I C .  1 1 .  Pid  ready  for  Mlmtj 


fic.  12.  Pad  filled 


F I C .  10.  Showing  how  Tint 
Tools  should  be  graded. 


The  Pad  Stand. — A  pad  stand  may  be  used  or 
not,  as  one  chooses.  They  are  convenient, 
however,  and  are  generally  used.  Fig.  13 
shows  one  with  the  pad  placed  on  top  of  it ;  but 
an y  form  or  shape  may  be' made,  or  a  small  bos, 
or  any  object  of  suitable  size  used  in  its  place. 
Care  should  be  taken  to  use  some  object  that 
will  set  firmly  on  the  bench  or  table,  and  will  not 
be  easily  moved. 

Eye-glaas  and  Stand.  —  An  eye-glass  will  be 
necessary  to  enable  one  to  do  justice  to  his  work, 
although  it  is  not  absolutely  necessary  to  the 
beginner  until  he  has  done  considerable  prac- 
tising with  his  tools.  A  glass  of  moderate 
power  should  be  chosen,  those  used  by  jewellers 
(Fig.  14)  being  a  good  kind.  But  a  glass  about 
an  inch  and  a  quarter,  or  an  inch  and  a  half  in 
diameter,  as  in  Fig.  15,  is  a  better  size.  A 
stand  will  be  needed,  and  that  can  easily  be 
made  at  home,  or  if  looks  are  any  object,  it  can 


calf  skin  properly  filled,  and  is  used  for  inking 
the  block  when  taking  a  proof.  Beady-made 
ones  can  be  bought  (see  Fig.  18),  but  if  the 
leather  is  gathered  together  and  tied  with  a 
string,  as  in  Fig.  19,  it  serves  the  purpose  just 
as  well.  If  the  amateur  possesses  a  printing 
outfit,  his  roller  will  answer  in  place  of  a  pad, 
and  save  him  the  trouble  of  making  one. 

This  completes  the  list  of  necessary  tools  and 
appliances,  with  the  exception  of  a  few  small 
things  that  need  no  special  description,  and 
which  will  be  mentioned  in  the  proper  place. 
But  before  we  commence  work  in  earnest,  the 
block  must  be  prepared,  and  the  drawing  placed 
upon  it. 

Drawing  on  the  Block. — Engravers  generally 
have  their  drawings  all  prepared  for  them,  but 
amateurs  will  want  to  do  the  whole  thing  ;  and 
this  is  how  it  is  done.  The  block  as  it  comes 
from   the    maker   has   a   very    smooth    glassy 


WOOD  ENGRAVING  FOR  AMATEURS. 


93 


surface,  and  is  exceedingly  difficult  to  draw  on 
without  special  preparation.  To  give  it  a  good 
surface  for  drawing,  it  must  first  be  rubbed  with 
a  piece  of  fine  pumice-stone,  or  with  some  finely 
powdered  pumice-stone  or  bath-brick,  on  a  piece 
of  cork.  Be  careful  that  no  foreign  substance 
or  large  piece  of  the  scouring  material  gets  on 
the  surface  of  the  cork,  as  it  will  leave  a  scratch 
that  will  show  when  the  block  is  printed.     This 


warping  will  be  prevented.  Always  stand  the 
block  on  edge  after  it  is  whitened,  and  it  will 
not  be  as  likely  to  warp  ;  large  blocks  should 
always  be  kept  that  way,  whether  they  are 
whitened  or  not. 

For  drawing  on  the  block  an  ordinary  set  of 
drawing  implements  may  be  used,  such  as  a 
T  square,  ruler,  dividers,  &c.  A  sketch  may  be 
made  with  tracing  paper  of  the  design  to  be 


FiC  IS .  Stand  lor  Glass 


fig  17. 
Home  made  Stand 


6 


FiC.  15.  Engravers  Glass 


FIC   14 

Jewellers  Eye  Class 


rubbing  will  roughen  up  the  surface,  so  it  will 
be  just  right  to  draw  on.  Simple  designs  may  be 
drawn  on  without  any  further  preparation,  using 
a  hard  pencil  so  that  the  lines  will  not  spread. 
But  the  method  generally  pursued  is  to  coat  the 
surface  with  a  layer  of  Chinese  white,  using  a 
camel' s-hair  brush  to  lay  it  on  with,  and  rubbing 
it  evenly  over  the  surface  of  the  block  with  the 
finger  or  palm  of  the  hand.  Use  as  little  water 
as  possible  in  thus  preparing  the  block,  or  it  will 
swell  and  warp.  Some  advise  that  the  under 
side  of  the  block  be  wet  a  little  when  the  surface 
is  whitened,  so  both  sides  may  swell  equally,  and 


FIG  18. 
Ink  Dabber. 


FIG. 13.  Pad Stand 
Vuttli  Pad  on  Top. 


copied  and  transferred  to  the  block  by  means  of 
impression  paper  and  a  tracing  point,  or  the 
design  may  be  transferred  directly  bj  the  same 
means.  In  the  latter  case,  however,  the  picture 
will  be  reversed,  while  the  tracing  may  be 
reversed,  and  thus  have  the  finished  cut  show 
the  same  way  as  the  original.  Of  course  the 
reader  will  understand  that  the  picture  on  the 
block  while  being  engraved  is  exactly  the  reverse 
of  the  print  taken  from  it.  In  engraving  from 
a  drawing  it  is  necessary  to  have  the  block 
covered  with  thin  paper,  cutting  it  away  as  the 
engraving    progresses.      This    paper   may    be 


94 


A   SWINGING  HAMMOCK   CHAIR. 


fastened  by  lapping  it  down  over  the  edges  of 
the  Mock,  and  sticking  it  with  beeswax.  If 
not  covered  with  paper,  the  drawing  would  be 
rubbed  off  by  the  hand  in  cutting  it. 

The  tracing  on  the  block  will  look  ragged 
when  the  impression  paper  is  removed,  and  will 
need  touching  up  with  a  hard  pencil  pointed 
fine,  to  make  the  lines  clear  and  distinct.  The 
drawings  are  afterwards  filled  in  with  softer 
pencils  and  India  ink,  to  give  the  required 
shading.  A  beginner  should  not  attempt  much 
shading,  however,  but  confine  himself  to  designs, 
that  have  distinct  lines  to  wgrk  on,  and  to  repro- 
ducing the  work  of  others  until  he  is  accustomed 
to  handling  the  tools. 


A  SWINGING  HAMMOCK  CHAIR. 

By  CLERICVS  SECVNDUS. 


II.— The  Swing  and  its  Construction. 
OB   the   framework  of    our   swing  we 
shall  require  four  scantlings  of,  say, 
6|  eet     long,   3£  inches  broad,  and 
1  inch  thick. 

These  must  be  fastened  together  in  pairs  by 
cross-pieces  top  and  bottom,  which  may  be 
2J  inches  broad  by  1  inch  thick.  The  bottom 
cross-pieces  must  be  mortised  into  the  long  pieces 
at  about  2  inches  from  the  bottom,  the  upper 
ones  about  6  inches  from  the  top.  It  will  give  a 
,  little  more  play  to  the  swing  if  these  top  cross- 
pieces,  instead  of  being  mortised,  be  screwed  on 
the  outside  of  the  framework. 

As  to  the  length  of  the  cross-pieces,  that  must 
depend  upon  the  width  of  the  chair.  Measure 
the  chair  at  its  widest  point,  i.e.,  across  the 
arms,  and  add  4  inches  ;  2  inches  clear  on  either 
side  ought  to  suffice  if  the  chair  be  properly 
hung. 

The  above  measurement  will  give  the  opening 
between  the  sides  of  the  narrower  of  the  two 
frames.  The  other  must  be  wider  by  2  full 
inches,  in  order  that  the  top  ends  may  fit  outside 
of  those  of  the  lesser.  Thus,  the  chair  as 
sketched  being  1  foot  9J-  inches  across  the  arms, 
the  opening  between  the  sides  of  the  inner 
frame  will  be  2  feet  H  inches,  and  that  of  the 
outer  2  feet  3i  inches  full. 


Bore  in  each  upright  a  f-inch  hole  2  inches 
from  the  top.  Get  a  f-inch  iron  rod  ;  this  must 
have  a  thread  and  nut  at  one  end,  and  at  the 
other,  either  a  "  head "  or  another  thread 
and  nut. 

Its  length  must  be  sufficient  to  pass  through 
the  two  frames,  and  be  screwed  up  on  the  inside  ; 
in  this  case  it  should  be  2  feet  6  inches  long. 
This  operation  may  now  be  performed.  "We  shall 
also  require  something  to  prevent  the  bottom  of 
the  frames  from  slipping  apart.  In  the  sketch 
there  are  also  iron  rods,  with  a  hook  at  one  end, 
which  fits  into  a  staple  in  the  sides  of  the  frame- 
work ;  the  other  ends  of  the  rods  are,  of  course, 
screwed  to  the  other  framework,  This  will  give 
some  slight  solidity  to  the  whole,  whilst  it  will 
not  prevent  its  being  folded  and  put  away.  If 
preferred,  a  chain,  or  even  the  humbler  rope, 
might  be  substituted. 

"We  now  have  a  frame  not  unlike  the  frame 
for  a  boat  swing. 

If  meant  to  be  permanent,  it  can,  of  course, 
be  put  together  with  more  solidity ;  but  the 
foregoing  will  be  found  to  answer  for  the 
lighter  and  more  portable  article  we  have 
in  view. 

Now  comes  the  hanging  process.  Get  two 
lengths  of  light  but  strong  chain.  Each  length 
in  the  chair  before  us  is  8  feet  4  inches.  This, 
however,  may  slightly  vary,  according  to  the 
height  of  the  swing  frame  and  the  length  of  the 
chair  legs.  The  length  of  the  chains  must  be 
such  that  when  the  chair  is  swung  and  in  the 
upright  position  of  Fig.  1,  the  foot-rest  just 
clears  the  ground. 

At  each  end  of  the  chain,  and  also  exactly  in 
the  centre,  fix  a  good  strong  hook,  preferably  a 
safety  hook,  similar  to  the  one  I  have  tried  to 
sketch  in  Fig.  4.  The  hooks  in  the  centre  of 
the  chains  must  be  of  a  size  to  easily  take  in 
the  f-inch  cross-bar  at  the  top  of  the  frame. 

At  each  end  of  the  seat  pieces  drive  a  stout 
eye  or  staple,  as  near  the  leg  and  back  as 
possible,  without  interfering  with  the  play  of 
the  chair. 

Pass  the  centre  hooks  of  the  chain  over  the 
top  cross-bar,  as  near  the  ends  as  possible,  and 
the  end  hooks  through  the  staples  in  the  seat  of 
the  chair,  and  our  chair  is  complete  so  far. 


A   SWINGING  HAMMOCK  CHAIR. 


95 


Now  try  if  it  swings  freely  and  evenly.  The 
cross-bar  from  which  the  chains  are  hung  being 
longer  than  the  width  of  the  chair,  ought  to 
prevent  the  chain  from  rubbing  against  the 
arms.  Shoidd  they  do  so,  in  order  not  to  take 
the  whole  affair  to  pieces,  screw  small  blocks  in 
the  seat  of  the  chair,  and  mount  the  staples  on 
these  blocks.  If  the  chair  "  wobbles,"  now  is 
the  time  to  correct  this  eccentricity.  It  may  be 
that  the  chains  are  not  of  exactly  equal  length, 
or  that  the  framework  is  not  perpendicular,  or 
that  the  cross-bar  is  not  truly  horizontal ;  but, 
whatever  the  cause,  it  must  be  discovered  and 
removed,  as  it  is  of  the  highest  importance  that 
the  chair  should  swing  evenly  between  the 
uprights  of  the  frame. 


short,  i.e.,  by  slipping  the  second  or  third  link 
over  the  hook,  the  chair  will  be  kept  upright, 
whilst  by  lengthening  the  chain  it  may  be  made 
to  assume  any  angle,  including  the  angle  which 
forms  the  straight  line. 

The  other  pieces  of  chain  must  be  fastened 
to  the  frame  facing  the  sitter,  and  at  the  height 
of  the  seat  of  the  chair. 

A  hook  must  be  fixed  either  at  the  end  of 
these  chains,  or,  as  before,  to  the  swing  chains, 
at  about  10  inches  from  the  bottom.  These, 
which  we  may  call  the  "fixing  chains,"  must 
be  fastened  when  the  chair  is  not  to  be  used 
as  a  swing. 

Fig.  2  will  give  a  fair  idea  of  the  whole 
arrangement,  though  the  chains  would,  with  the 


FIG. 4-. 


FIG.  3. — A,  FRAMEWORK    OF  SWING  ;  E,  IRON  TO  SUPPORT  AWNING  AND  REGULATE  ITS  INCLINATION 
TO  SURROUND  FRAMEWORK.      FIG.   4. — SAFETY  HOOK  FOR  CHAINS. 


C,  STRIP  OF   CANVAS 


We  do  not,  however,  advise  the  amateur  to 
occupy  the  chair  at  this  stage,  even  though  the 
oscillation  leave  nothing  to  be  desired.  A  French 
writer  has  described  a  throne  as  "  un  fauteuil  a 
bascule,"  and  the  amateur  might  learn  to  his 
cost  that  the  "  turn-over  "  business  is  possible 
to  other  than  crowned  heads. 

Before  our  hammock  chair  can  be  used  we  shall 
need  four  pieces  of  chain,  each  1  foot  long,  and  as 
many  staples  and  hooks — safety  hooks — as  before. 
Just  under  each  arm  of  the  chair  (vide  Fig.  1) 
fasten,  by  means  of  staples,  one  of  these  chains  ; 
then  fasten  one  of  the  hooks  to  the  two  nearer 
swing-chains,  about  1  foot  from  the  bottom. 
These  chains,  which  we  may  call  the  regulating 
chains,  must  always  be  fastened  by  one  of  their 
links  to  the  hooks  in  the  swing  chain  before 
sitting  in  the  chair.    By  keeping  the  chain  cjuite 


chair  at  the  angle  given,  be  somewhat  deflected 
from  the  straight  line  by  the  pull  of  the  regulating 
and  fixing  chains  respectively. 

They  have,  however,  been  left  straight  in 
order  to  give  a  better  idea  of  the  functions  of 
the  several  chains.  Our  hammock  chair  is  now 
complete  as  such,  and  the  toiler  may,  if  he 
pleases,  rest  and  be  thankful. 

But  another  want  may  possibly  be  felt  in 
connection  with  our  hammock  chair. 

It  is  possible  it  may  occasionally  be  appro- 
priated, as  are  so  many  of  our  hard-wrought 
contrivances,  by  those  members  of  our  families 
(actual  or  "intended")  who  have  a  constitutional 
objection  to  being  "done  brown."  And  even 
the  average  Englishman,  though  he  dares  the 
blazing  sun  by  flood  and  field,  without  the 
resource  of  the  lace-edged  parasol,  may   well, 


96 


A    SIMPLE  KNIFE    CLEANER. 


in  his  rare  moments  of  leisure,  object  to  being 
hung  and  then  grilled. 

Let  us  see  if  we  can  ward  off  these  several 
calamities. 

Fig.  3  Js  a  sketch  of  the  framework  of  an 
awning,  meant  to  be  fixed  at  the  top  of  the 
swing  frame.  It  may  be  very  light ;  wood 
2|  inches  wide  by  A  inch  thick  will  do.  In  the 
sketch  it  is  3  feet  6  inches  by  2  feet  6  inches ; 
but  the  latter  dimension  must  depend  upon  the 
outside  width  of  the  swing  frame,  as  it  must  just 
slip  over  it. 

It  may  be  jointed  in  any  way  within  the 
amateur's  capacity,  though,  of  course,  the  dove- 
tail joint  is  the  correct  thing. 

Bore,  with  a  brace  and  bit,  a  series  of  f-inch 
holes  along  the  half  of  the  framework  facing 
the  sitter,  and  a  few  beyond  the  centre  towards 
him  ;  both  sides  to  be  alike,  of  course.  Near 
the  ends  of  the  framework,  still  in  the  end 
facing  the  sitter,  fasten,  by  means  of  rivets,  the 
ends  of  strips  of  flat  iron  or  other  metal,  say, 
\  inch  thick.  These  must  be  about  15  inches 
long  by  1  inch  broad,  and  be  perforated  at  the 
loose  end  by  a  hole  large  enough  to  allow  of  a 
pin  made  of  stout  wire. 

At  intervals  down  the  nearest  uprights  of  the 
framework  bore  holes  of  a  corresponding  size. 

It  will  at  once  be  seen  that  as  the  rod  which 
fastens  the  swing  frame  together  at  the  top  must 
also  fix  the  awning,  it  will  have  to  be  1  inch 
longer  than  where  the  awning  is  deemed  super- 
fluous. The  holes  which  have  been  bored  in 
the  framework  of  the  awning  will  allow  of  its 
being  fixed  at  any  point  along  its  length,  whilst 
the  metal  strips  will  enable  us  to  control  the 
angle  at  will. 

The  awning  may,  of  course,  be  made  longer  if 
deemed  advisable  ;  but  the  dimensions  given  will 
be  found  fairly  satisfactory,  especially  as  the  holes 
just  described  will  enable  him  to  so  shift  the 
awning  as  to  ward  off  the  sun's  rays  most  hours 
of  the  day. 

If  preferred,  staples  may  replace  the  holes 
along  the  framework,  and  a  sufficiently  long 
hook  replace  the  strip  of  metal. 

The  sketch  gives  the  framework  only,  in  order 
that  the  arrangement  may  be  more  visible  ;  but, 
of  course,  the  top  will  have  to  be  covered  over 


with  canvas,  and  the  sides  hidden  with  strips 
of  canvas,  cut  (for  appearance  sake)  something 
like  c,  in  Fig.  3. 

This,  I  think,  will  complete  the  whole.  Should 
any  reader  attempt  the  construction  of  the  chair, 
the  writer  will  have  the  satisfaction  of  having 
so  far  advanced  the  interests  of  the  human 
race,  and  the  worker  have  a  chance  of  showing 
his  respect  for  Spencerian  philosophy  by  falling- 
fast  asleep  in  his  swinging  hammock  chair. 


A  SIMPLE  KNIFE  CLEANER. 

By  J.  L.  DWYER,  B.A. 

WAS  lately  favoured  with  a  visit  from 
a  certain  brother-in-law  who,  among 
other  things,  confided  to  me  the  fact 
that  he  had  made  an  invention.  "  Shall  I  patent 
it  ?  "  was  his  anxious  inquiry.  I  advised  him 
to  do  so,  if  he  wished  to  dispose  of  any  surplus 
cash ;  but  I  had  experience  that  it  was  far 
easier  to  get  rid  of,  than  to  make,  money  by 
patenting. 

I  asked  him,  however,  to  make  one  of  his 
wonderful  knife-cleaning  machines  for  me,  and 
promised  that  I  would  give  the  benefit  of  his 
genius  to  the  world  through  Amateur  Work,  if 
it  cleaned  knives  to  my  satisfaction.  This 
pleased  him  very  much,  and  if  he  sees  his 
invention  in  print,  I  have  no  doubt  he  will 
derive  more  pleasure  and  profit  from  the  fact 
than  he  could  ever  derive  from  the  Patent 
Office  Records.  The  machine  has  now  been  in 
use  at  my  house  for  a  couple  of  months,  and 
gives  every  satisfaction  to  the  cook,  as  being 
labour  saving.  It  also  gives  me  much  satis- 
faction, as  being  knife  saving.  This  cannot  be 
said  of  some  of  the  revolving  knife  cleaners, 
many  of  which  wear  away  the  steel  blades  in 
an  incredibly  short  space  of  time. 

I  give  a  drawing  of  the  machine  as  it  was 
made  by  my  brother-in-law  ;  and,  as  it  works 
very  well,  I  would  not  care  to  depart  much  from 
these  dimensions.  If  the  main  features,  how- 
ever, are  copied,  the  machine  cannot  be  far 
wrong. 

It  consists,  as  may  be  seen,  of  two  pieces  of 
wood  hinged  together  at  the  ends  with  a  strong 


A   SIMPLE   KNIFE    CLEANER. 


97 


cast  iron  butt  hinge.  The  upper  piece  is  six 
inches  longer  than  the  lower,  and  has  a  handle 
formed  at  the  free  end.  Pieces  of  leather  are 
tacked  to  the  opposing  surfaces  of  the  wood, 
3  inches  from  the  hinge,  and  it  is  between  these 
that  the  cleaning  of  the  knife  is  done.  The 
cheeks  may  be  made  of  any  kind  of  wood,  but 
my  brother-in-law  found  a  nice  piece  of  birch 
in  my  workshop — dimensions,  3  feet  6  inches 
by  2J-  inches  by  1  inch — to  be  just  the  thing. 
I  reasoned  that  deal  would  have  done  as  well, 
but  he  said  the  birch  was  nicely  planed  and 
smooth,  which  would  save  him  trouble.  Having 
cut  the  piece  to  the  correct  lengths,  viz.,  18 
inches  and  24  inches,  a  handle  was  formed  on 


and  it  will  then  be  found  to  be  perfectly  clean. 
It  is  well  to  tack  a  small  piece  of  leather  over 
the  top  cheek,  on  which  the  part  near  the  handle 
of  the  knife  can  be  polished. 

Lest  the  top  cheek  should  joggle  backwards 
and  forwards  with  the  motion  of  the  knife,  we 
put  a  small  mortise  in  it  towards  the  handle, 
and  drove  an  iron  peg  into  the  lower  one  in  such 
a  way  that  it  would  not  prevent  the  vertical, 
but  would  the  lateral,  motion  of  the  top  cheek. 
This  mortise  and  peg  are  shown  clearly  in  the 
figure.  The  cleaner  is  screwed  down  firmly  to 
a  table  in  the  scullery,  where  it  can  be  worked 
with  ease. 

The  mechanical  advantage   in  this  arrange- 


leather 


leather 


THE    KNIFE    CLEANER    COMPLETE. 


the  long  one,  and  the  leather  inquired  for.  It 
was  particularly  insisted  on  that  this  should  be 
of  a  nice  soft  quality — buff,  for  instance  ;  but 
as  this  was  not  forthcoming,  harness  leather 
about  \  inch  thick  was  declared  practic- 
able. A  piece,  5  inches  by  7  inches,  was 
required  for  the  opposing  pads.  These  were 
now  tacked  on,  the  leather  being  stretched 
tightly,  and  the  tacks  driven  into  the  edges  of 
the  wood.  The  leather  is  3  inches  from  the 
hinge  at  its  nearest  point. 

The  hinge  was  then  screwed  on  to  the  lower 
cheek  with  long  screws,  and  the  other  cheek 
laid  over  it,  until  the  leathers  lay  quite  flat  upon 
one  another  ;  the  remaining  screws  were  then 
put  to  secure  the  hinge  to  the  upper  cheek,  and 
the  job  was  nearly  done.  To  clean  knives  it  is 
only  necessary  to  spread  some  knife  powder  on 
the  lower  leather ;  bring  the  upper  one  down, 
and  press  gently,  when  some  of  the  powder  will 
stick  to  it.  The  knife  is  then  inserted  between 
the  leathers,  and  pushed  from  the  point  to  the 
heel  backwards  and  forwards  for  a  few  times, 


ment  is,  I  think,  to  be  found  in  the  lever,  and 
in  the  fact  that  both  sides  of  the  knife  are 
cleaned  at  once.  In  the  ordinary  knife  board 
it  is  necessary  to  press  against  the  board,  and 
move  the  knife  laterally  at  the  same  time.  On 
this  the  downward  pressure  is  exerted  by  the 
lever,  which,  at  the  same  time,  cleans  the  top 
surface  of  the  blade  ;  and  the  motion  is  confined 
to  a  thrust  and  pull. 

I  hope  many  of  the  readers  of  this  magazine 
will  construct  one  of  these  extremely  simple  and 
easily  made  knife  cleaners,  and  that  they  will 
find  it  as  useful  as  I  have. 


An  Excellent  Wax  Polish  for  wood  is  made 
by  boiling  a  quarter  of  a  pound  of  white  wax 
with  one  ounce  of  pearlash  in  a  quart  of 
water.  It  should  be  continually  stirred  while 
boiling  and  until  thoroughly  cool.  It  is  applied 
to  the  surface  of  the  wood  with  an  ordinary 
paint  brush,  and  rubbed  briskly  until  dry  with 
a  velvet  or  plush  rubber.  A  very  high  polish  is 
the  result.—  B uilder  and   Woodworker . 


98 


A    WATCH-STAND  IN  TURNED    WORK. 


A   WATCH-STAND  IN  TURNED 
WORK. 

By  ROBERT  W.  COLE. 


]HE  watch-stand  is  shown  in  its  com- 
pleted condition  in  Fig.  1.  It  consists 
simply  of  a  circular  piece  of  wood, 
which  is  destined  to  contain 
the  watch,  and  which  is 
supported  on  a  stem  about 
4  inches  long.  The  lower 
end  of  this  stem  is  fixed  in 
the  centre  of  another  circular 
piece  of  wood,  which  rests 
on  three  small  turned  feet. 
When  you  have  decided 
upon  the  kind  of  wood  to 
be  used,  commence  the  con- 
struction of  the  watch-stand 
with  the  circular  base.  This 
should  be  about  4  inches  in 
diameter  and  i  inch  thick, 
and  should  have  a  hole,  £ 
inch  in  diameter,  bored  half- 
way through  its  centre. 
Ornament  the  surface  in  the 
manner  shown  in  Fig.  1, 
finish  in  the  usual  way,  and 
remove  from  the  lathe.  You 
must  now  remount  it  on  the 
lathe  in  order  to  turn  the 
lower  side  perfectly  flat  and 
true.  To  do  this,  turn  up 
the  face  of  the  piece  of 
wood,  from  which  you 
have  just  cut  off  the  base, 
until  quite  flat ;  bore  a 
hole  about  1  inch  in 
diameter  in  its  centre,  ham- 
mer into  it  a  piece  of  box- 


wood, so  as  to  leave  about  J  inch  projecting, 
and  then  turn  down  the  projecting  end  until  it 
is  small  enough  to  fit  tightly  into  the  hole  which 
you  have  made  in  the  centre  of  the  base  which 
you  desire  to  remount.  When  you  have  done 
this,  hammer  the  base  on  to  this  projecting 
piece  of  wood  so  that  it  revolves  quite  truly,  and 
turn  its  lower  surface  until  it  is  quite  level. 
Then  bore  three  holes, 
J  inch  in  diameter,  for 
the  feet  to  fit  into,  and 
remove  from  the  lathe. 
Next  proceed  to  turn 
the  three  feet.  These  are 
about  1  inch  in  diameter, 
are  turned  quite  plain,  and 
each  has  a  projecting  stem 
J  inch  long  and  J  inch  in 
diameter,  by  which  it  is 
fitted  into  the  base  of  the 
watch-stand. 

The  stem  is  the  next  part 
of  the  construction  which 
must  occupy  our  attention. 
The  entire  length  of  this  is 
5  inches.  The  lower  end  is 
turned  down  £  inch  in 
diameter,  so  as  to  fit  into 
the  centre  of  the  base,  and 
the  upper  end  tapers  until 
it  is  less  than  J  inch  in 
diameter,  as  is  shown  in 
Fig.  2. 

We  will  now  proceed  to 
make  the  upper  part  of  the 
watch- stand,  which  contains 
the  watch.  This,  which 
consists  of  five  pieces,  is 
shown  in  Fig.  3.  The  piece 
of  wood,  a,  is  3  inches  in 
diameter,     has      its     back 


3. — SECTION   OF   PAKT   OF   WATCH-STAND 
WHICH   CONTAINS   THE  WATCH. 


FIG.   2, — STEM    OF    WATCH-STAND, 


A    WATCH-STAND . IN  TURNED    WORK. 


99 


turned  perfectly  flat,  and  has  its  front  side 
hollowed  out  J  inch  deep  and  2h  inches  wide, 
and  a  hole,  J  inch  in  diameter,  bored  right 
through  its  centre.  A  ring,  e,  is 
turned  so  as  to  fit  into  the 
hollowed  out  part  of  a,  and 
project  slightly.  The  object  of 
this  ring  is  to  hide  the  rough 
edges  of  a  piece  of  plush,  e, 
with  which  the  hollowed  out  part 
of  a  is  destined  to  be  lined.  The 
piece  of  wood,  c,  is  2  inches  in 
diameter,  and  also  has  a  hole 
J  inch  in  diameter  bored  through 
its  centre.  Another  hole  of  the 
same  diameter  is  bored  in  an 
oblique  direction  (see  Fig.  3)  in 
its  circumference,  into  which  the 
tapering  point  of  the  stem  is 
intended  to  fit.  A  pin,  d,  is 
turned,  having  a  knob  at  one 
end,  and  its  narrow  part  large 
enough  to  fit  tightly  into  the 
holes  in  a  and  c,  which  it  is 
intended  to  fasten  together.  A 
piece  of  wood,  f,  turned  as  is 
shown  in  Fig.  3,  fits  into  the 
circumference  of  a,  and  has  a 
small  brass  hook  screwed  into 
its  middle,  to  which  the  chain 
of  the  watch  is  to  be  attached. 
When  these  five  pieces  have 
been  completed,  get  a  piece  of 
plush  of  a  colour  which  will 
match  nicely  with  the  kind  of 
wood  which  you  have  used  in 
the  construction  of  the  watch- 
stand,  and  cut  out  of  it  a  round 
piece  large  enough  to  fit  evenly 
into  the  hole  which  you  have 
hollowed  out  in  the  front  side  of 
a  (Fig.  3),  and 
then  secure  it 
with  some  weak 
gum  or  glue. 
This  piece  of 
plush,  fixed  in 
its  place,  is  re- 
presented by   e 


FIG.    I. — SIDE   VIEW  OF   WATCH-STAND  COMPLETE. 


in  Fig.  3.  Then  glue  the  piece  of  wood,  f, 
into  the  hole  which  has  been  made  for  its  recep- 
tion in  the  circumference  of  a,  and,  with  a 
circular  file,  cut  a  half-round 
notch  across  the  edge  of  the 
ring,  which  is  just  underneath 
f,  so  that  the  top  part  of  the 
watch  will  not  prevent  it  from 
resting  against  the  plush.  This 
done,  fasten  the  ring  in  its  place, 
and  glue  a  on  to  the  projecting 
part  of  d,  turning  it  round  until 
f  is  in  its  highest  position,  when 
the  watch-stand  will  be  complete. 

To  Improve  a  Poor  Negative 
and  modify  extremes  of  light 
and  shade,  cover  the  whole  of 
glass  side  of  the  negative  with 
any  ordinar}'  negative  varnish  in 
a  cold  state.  Scrape  off  as 
much  of  this  coating  opposite 
the  densest  parts  as  is  necessary, 
and  if  there  are  any  very  thin 
spots  in  the  negative  a  little 
Prussian  blue  water  colour  may 
be  brushed  over  the  varnish  to 
still  further  soften  the  printing 
through  these  parts.  Of  course 
this  dodging  has  to  be  done  with 
judgment,  or  the  resulting  print 
will  be  wanting  in  those  very 
qualities  of  which  it  had  an 
excess  before.  If  the  first  ex- 
periment in  this  direction  is 
not  successful  the  whole  coating 
may  be  cleared  off  by  methy- 
lated spirit  and  done  again. — 
Photographic  Scraps. 

Magnesium  Flash  Light 
Powder,  without  chlorate  of 
potash. — The  Scien- 
tific American  gives 
the  following  com- 
position :  Magne- 
sium, 40  per  cent ; 
permanganate  of 
potassium,  40 ;  per- 
oxide of  barium,  20. 


100 


NOTES  ON  NOVELTIES. 


ENAMELLING    PHOTO    PRINTS. 


SE  very  clean  plates,  rather  larger 
than  the  prints  to  be  enamelled, 
wipe  them  well,  rub  them  with  talc, 
and  remove  the  excess  with  a  soft  brush  passed 
lightly  over  the  surface.  In  a  dish,  half  filled 
with  ordinary  water,  immerse  the  photographs, 
and  allow  them  to  soak.  This  being  done,  coat 
one  of  the  talcked  plates  with  enamelling 
collodion  in  the  ordinary  way,  agitate  to  cause 
the  ether  to  evaporate,  and  when  the  film  has  set 
— that  is  to  say,  in  a  few  seconds — steep  this 
plate,  the  collodionised  surface  up,  in  a  second 
dish  containing  pure  water.  Now  take  one  of 
the  prints  in  the  first  dish,  and  apply  the  printed 
side  to  the  collodion,  remove  the  plate  from  the 
dish,  keeping  the  print  in  its  place  with  the 
finger  of  the  left  hand,  and  remove  the  air 
bubbles  by  lightly  rubbing  the  back  of  the 
photograph  with  the  forefinger  of  the  right 
hand.  Care  has  been  taken  beforehand  to 
prepare  some  very  pure  starch  paste,  passed 
through  a  cloth,  and  some  thin  cardboards,  or 
simply  thick  paper  the  size  of  the  plates  used. 
The  air  bubbles  having  completely  disappeared, 
and  the  perfect  adherence  of  the  print  ascer- 
tained, dry  with  bibulous  paper,  and  spread 
over  the  prepared  cardboard  on  paper  a  coating 
of  the  collodion  by  means  of  a  flat  brush. 
Apply  this  sheet  on  the  print,  pass  the  finger 
over  it  to  obtain  complete  adherence,  and  give 
it  twenty- four  hours  to  dry.  At  the  expiration 
of  this  time,  cut  with  a  penknife  the  cardboard 
or  paper  even  with  the  print,  and  detach  by  one 
corner.  If  the  plate  has  been  well  cleaned,  the 
print  will  come  off  itself.  We  get  in  this 
manner  a  very  brilliant  surface,  and  as  solid  as 
that  obtained  by  the  use  of  gelatine,  which,  as 
it  is  seen,  is  entirely  done  away  with  in  this 
process.  The  prints  are  afterwards  mounted  on 
thick  cardboard  in  the  usual  way.  It  is  possible, 
by  mixing  with  the  collodion  some  methyl  blue 
dissolved  in  alcohol  (a  few  drops  are  sufficient), 
to  obtain  moonUght  effects,  especially  if  a 
rather  strong  negative  has  been  used.  For 
sunsets,  make  use  of  an  alcoholic  solution  in 
coccinine. — F.  Tamiquet,  in  Science  en  Famille. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


OOD  ENGRAVING  (Published  by  Crosby 
Lockwood  and  Co,  price  Is.  6d.)  —  Yet 
§  another  addition  to  that  useful  series  of 
technical  works  known  as  Weale's  Rudimentary 
Series  !  This  little  book  is  just  what  the  author  claims  for 
it — "a  thoroughly  practical  and  easy  introduction  to  the 
study  of  wood  engraving,  giving  representative  lessons, 
and  by  this  means  serving  to  lure  the  student  on,  by 
almost  imperceptible  degrees,  till  he  haB  acquired  a  full 
and  thorough  knowledge  of  the  principles  and  practice 
of  this  interesting  art."  Anyone  studying  this  work  in 
connection  with  the  papers  by  F.  S.  Morton,  now  being 
published  in  Amateur  Work,  cannot  fail  to  acquire  a 
knowledge  of  wood  engraving. 

The  Pitkin  Pocket  Lamp. — This  handy  and  useful 
electric  lamp  was  noticed  in  Amateur  Work,  Vol.  I. 
(New  Series),  page  433.  In  consequence  of  that  notice, 
several  applications  have  been  made  for  further  par- 
ticulars, and  I  am  informed  by  Mr.  T.  Niblett  that 
such  applications  should  be  addressed  to  56,  Red  Lion 
Street,  Clerkenwell,  London,  E.  C,  and  not  to  the  address 
previously  given. 

Paper  Letters. — Messrs.  Willcox  Brothers,  paper  letter 
cutters,  172,  Blackfriars  Road,  London,  send  me  specimens 
of  paper  letters  of  various  sizes,  designs,  and  colours. 
They  are  produced  in  sizes  ranging  from  4  inches  to  24 
incbes,  at  prices  varying  according  to  size,  from  4d.  to  6s. 
per  dozen.  The  letters  are  well  designed  and  well  cut, 
and  will  be  found  useful  for  displaying  on  windows, 
numbers  and  names  of  houses  on  fanlights,  banners,  show 
tablets,  school  notices,  festivals,  entertainments,  etc. 
There  is  no  special  skill  required  in  their  use,  as  they  are 
simply  fixed  with  flour  or  starch  paste. 

Buyer's  Guide  to  Tehnical  Books. — The  Britannia  Co., 
Colchester,  have  issued  a  useful  and  much-needed  catalogue 
of  technical  books  in  the  mechanical  arts,  containing  the 
names  of  the  best  British  and  American  books,  fully 
described,  showing  price,  size,  and  contents  of  each.  The 
price  of  this  catalogue  is  6d. 

Brazz-o-line. — Mr.  T.  Birtwistle,  42,  Belvedere  Road, 
Burnley,  has  favoured  me  with  a  sample  of  lacquer  for 
brass  work,  differing  from  that  noticed  on  page  574  of  the 
last  volume  of  Amateur  Work,  inasmuch  as  it  is  darker  in 
colour,  and  is  known  as  "  gold  tint"  It  is  easily  applied 
without  special  skill  to  every  description  of  brass  or  gilt 
article,  such  as  picture  frames,  brass  ornaments,  fenders, 
fire-irons,  etc.  The  preparation  is  supplied  in  bottles  at 
Is.  2d.  and  2s.  9d.,  post  free. 

The  Amateur  for  December  contains  an  excellent  design 
for  a  photo  frame  in  painted  fretwork. 


AMATEURS  IN  COUNCIL. 


H,l 


AMATEURS  IN  COUNCIL. 


OPEX    TO    ill   HEADERS. 


Criticism— An  Offer  to  the  Readers  of 
"Amateur  Work." 

Jas.  Scott  writes  : — "  A  Correspon- 
dent" (p.  576,  Part  24)  must  kindly 
remember  that  he  is  but  one  among 
thousands  of  readers,  and  that  because 
he  does  not  relish  certain  articles,  he 
must  not  expect  others  to  follow  suit ; 
for  it  is  plainly  apparent  that  this  is 
his  case,  disguised  under  a  limited 
charge  of  impractability  of  construction 
of  the  articles  of  mine  to  which  he 
alludes.  At  first  I  thought  I  could 
trace  the  pen  of  a  contributor  who  was 
jealous  of  my  encroaching  on  his 
domains;  but  after  a  few  years'  active 
experience  with  magazines,  I  conclude 
that  contributors  are  made  of  different 
stuff. 

The  following  is  what  "A  Corres- 
pondent "  has  done :  He  saw  my 
folding  table  design,  and  did  not  like 
it ;  then  his  eyes  caught  my  combined 
table,  desk,  and  easel,  and  he  could 
stand  no  more  of  it.  Therefore  he 
wrote  off  hastily,  without  ascertaining 
in  the  slightest  degree  whether  there 
was  sufficient  evidence  to  warrant  his 
giving  publicity  to  his  hints  ;  by  doing 
which  he  tends  to  prejudice  me  in 
the  estimation  of  the  Editor  and  his 
readers.  The  very  fact  of  the  publica- 
tion of  his  letter  so  soon  after  the 
appearance  of  my  table,  desk,  and 
easeL  helps  to  confirm  my  impression 
that  he  wrote  without  attempting  to 
verify  his  doubts.  To  have  acted 
honourably,  he  should  have  verified  his 
-doubts  to  some  extent. 

In  defence  of  my  reputation,  I  wish 
to  tell  him  that  some  months  ago  a 
reader  of  a  contemporary  complained 
of  the  impracticability  of  the  construc- 
tion of  an  article  which  he  contemplated 
making  from  one  of  my  designs,  and 
wrote  me  to  that  effect.  I  replied,  and 
pointed  out  his  errors;  and,  as  a  fact, 
only  the  day  previous  to  reading  your 
letter  I  received  one  from  him,  wherein 
he  stated  that  he  had  completed  the 
article  satisfactorily,  and  was  well 
pleased  with  it ;  and,  in  addition,  had 
made  another  article  from  another  of 
my  designs — the  value  of  the  two 
Articles  together  reaching  above  i20. 


In  further  defence,  I  must  tell  you 
that  some  time  ago  I  received  a  compli- 
mentary letter  from  Captain  Marshall 
Hall,  a  gentleman  well  known  in  higher 
circles,  and,  I  believe,  a  near  relative  of 
Captain  Hall,  who  perished  in  the 
Arctic  regions. 

I  do  not  need  praise,  neither  do  I 
wish  to  waste  my  fully  occupied  time 
in  replying  to  unmerited  accusations. 
During  the  past  two  years  I  have 
designed  over  fifty  new  and  different — 
small  and  large — articles,  each  posses- 
sing one  or  more  novel  features.  The 
majority  of  these  have  been  published, 
and  I  have  received  four  or  five  com- 
plaints, yours  included,  all  of  which  I 
have  satisfactorily  dealt  with. 

Very  few  designers  can  wield  a  work- 
man's tools — they  cannot  give  their 
time  to  the  study  of  designing  and 
physical  practice  as  well ;  but  I  am  in 
the  habit  of  making  small  rough  models, 
aHd  made  one  of  folding  table,  and 
also  of  table,  desk,  and  easel.  The 
Editor's  desire  was  that  I  should  con- 
tribute some  papers  through  the  new 
Volume,  and  titles  of  several  in  view, 
more  pleasant  looking  than  those 
already  published  in  Asi.vtedk  Work, 
are  included  in  the  prospectus ;  but  he 
would  not  care  to  stake  the  reputation 
of  his  magazine  if  such  statements  as 
yours  reach  him.  You  name  several 
gentlemen  whose  productions  you 
admire,  and  I  will  live  in  hopes  of 
being  included  in  the  list ;  but  I  will 
tell  you  that  I  value  neither  censure 
nor  praise,  except  as  a  business  matter, 
from  you. 

To  set  all  doubts  at  rest,  I  have  a 
proposition  to  make.  If  any  reader 
has  started,  or  contemplates  starting, 
making  either  my  folding  table,  or 
table,  desk,  and  easel,  or  both,  I 
entreat  him  to  proceed,  first  fixing  an 
estimated  value  on  his  production  when 
completed.  He  is  to  follow  my  instruc- 
tions in  those  papers,  and  if  he  reaches 
a  point  impracticable,  I  will  pay  him 
his  estimated  value  of  the  article  as  if 
it  had  been  finished  thoroughly.  If  one 
or  both  turn  out  correct,  he  is  to  retain 
the  article,  or  articles.  I  see  no  reason 
why  I  should  be  burdened  with  expense 
if  I  am  in  the  right.  There  are  one  or 
two  things  I  stipulate  for  :  anyone  in- 
tending to  enter  this  peculiar  contest 
must  at  first  send  his  name  and  address, 
through   the  Editor  (with  his  permis- 


sion), to  me ;  also  I  will  not  bind 
myself  to  any  given  measurements,  nor 
to  engravers'  mistakes  (one  of  which 
latter  happened  in  Pig.  3,  p.  397, 
Part  21,  where  two  lines  are 
omitted). 

Please  bear  in  mind  that  although  1 
make  this  offer,  it  is  not  my  custom  to 
supply  designs  upon  the  chance  of  their 
turning  out  practicable. 

In  conclusion,  I  will  remark  that  the 
man  who  has  not  sufficient  intelligence 
and  foresight  to  see  that  a  table  can  be 
made  from  my  design  (p.  397,  Part 
21.),  does  not  deserve  to  be  entitled 
to  an  opinion  at  all.  I  have  replied  to 
you  rather  warmly,  but  my  defence  is 
in  one  scale,  and  your  severe  and  detri- 
mental hints  in  the  other.  Let  us  see 
which  has  most  weight. 

Wire  for  Coil. 
G.  I. — Measure  the  entire  diameter 
of  the  coil  bobbin,  subtract  from  this' 
the  diameter  of  the  core  and  primary, 
multiply  the  mean  of  the  remainder  by 
314,  and  the  answer  will  give  you  the 
length  of  one  coil.  Mark  on  a  piece  of 
cardboard  a  space  exactly  1  inch,  fill 
this  with  coils  of  No.  34  wire,  laid 
closely  side  by  side,  and  note  the 
number  of  coils  to  the  inch.  Multiply 
this  by  the  exact  length  of  the  wire 
space  between  the  bobbin  ends,  and 
this  sum  by  the  length  of  one  coil ;  this 
will  give  you  the  length  of  wire  on 
one  layer  ;  multiply  this  length  by  the 
total  of  the  diameter,  or  rather  by  the 
number  of  coils  which  will  go  into  this, 
and  you  will  obtain  the  total  length  of 
the  secondary  wire  on  your  coil. — G.  E. 

Bichromate  v.  Bunsen  Cell. 
G.  I.— The  E.  M.  P.  of  a  bichromate 
of  potash  cell  having  carbon  opposed 
to  zinc  is  nearly  two  volts,  whatever 
the  size  of  the  cell  may  be.  The  E.  M. 
F.  of  a  Bunsen  cell  is  from  1'80  to  P90 
volts.  It  therefore  follows  that  the 
bichromate  cell  gives  a  current  of 
higher  force  than  that  of  a  Bunsen 
cell.  The  strength  of  the  current 
obtainable  from  either  cell  varies  with 
its  internal  resistance,  and  this  rises 
in  both  when  the  circuit  is  closed.  As 
the  bichromate  cell  quickly  polarises 
when  the  circuit  is  closed,  its  resistance 
internally  becomes  greater  than  that  of 
the  Bunsen,  and  its  strength  of  current 
becomes  proportionately  less. — G.  E. 
VOL.   III.   (N.S.) — I 


102 


AMATEURS  IN  COUNCIL. 


Dressing  Table  and  Washstand. 
M.  E.  M.  (Heywood). — As  you  only 
desire  an  ordinary  dressing  table  and 
washstand,  such  as  are  sold  at  furniture 
dealers',  I  have  not  striven  to  give  you 
anything  particularly  fresh  in  appear- 
ance ;  although  the  design  given  here- 
with is  to  be  preferred  to  one  represent- 
ing the  dressing  table,  as  having  one  or 
more  boxes  or  drawers  on  each  side  of 
the  table  at  the  ends — the  latter  being 
a  very  common  pattern  indeed.  I 
shall  presume  that  you  are  sufficiently 
well  acquainted  with  wood  manipulation 
to  need  no  further  instructions  than  a 


FIG.  I. 

note  or  two  upon  the  best  forms  of 
joints  here  and  there.  To  describe 
these  I  now  proceed.  The  plinth  of 
each  pedestal  of  the  dressing  table 
should  consist  of  four  boards  about  4J 
inches  deep,  and,  say,  i  inch  thick, 
dovetailed  to  each  other,  with  a  board, 
or  four-cornered  framing,  joined  in- 
side to  them  at  a  little  distance  from 
their  tops,  as  shown  in  Fig.  3,  in  which 
diagram,  B  is  the  board  or  framing ; 
these  parts  will  be  further  strengthened 
by  screwing  boards  (a)  to  the  outside 
plinth  boards.  The  pair  of  pedestals 
and  middle  drawer  should  be  made  as 
one  complete  carcase,  to  which  will  be 
screwed  from  underneath  board  B 
(Fig.  3)   the  pliuths.      The  divisions 


upon  which  the  drawers  will 
run  should  be  joined  to 
pedestal  sideboards  as  at  c 
in  Fig.  4.  Matchboard, 
screwed  or  nailed,  will 
answer  for  the  backboards  of 
these  parts.  Table  top  could 
be  made  as  shown  in  Fig.  6  ; 
one  board  being  Bcrewed  to 
the  carcase,  and  the  extreme 
top  one  being  glued  to  the 
former.  It  will  be  preferable 
to  have  the  top  brackets  and 
the  backboard  of  the  top 
drawers    composed    of    one 

entire  piece,  to  which  will  be  i 
screwed  the  top  shelf  with 
round  corners.  A  narrow 
bottom  board,  two  sides  and 
a  division,  connected  to  the 
top  shelf,  trill  serve  to  receive 
the  drawers.  The  sides  men- 
tioned might  be  secured  by 
form  of  joint  (tongue)  shown 
at  B,  Fig.  !3 ;  the  groove  in 
the  underpart  of  top  shelf  to 
accommodate  it  being  worked 
from  the  back  to  within  a 
short  distance  of  the  front 
moulding,  thus  forming  a 
solid  job  when  all  is  put  to- 
gether, and  not  defacing  the 
wood.  Between  the  brackets 
will  swing  a  mortised  and 
tenoned  frame  containing  a 
mirror  ;  on  the  top  rail  of  the 
frame  being  screwed  a  mould- 
ing and  pediment.  No  doubt 
you  will  understand  the  con- 
struction of  the 
drawers.  Shaped 
pieceB  glued  here 
and  there  will 
improve  appearance.  You 
will  observe  that  I  show  an 
open  space  at  the  bottom 
of  each  pedeBtal.  In  some 
instances  these  are  to  be 
preferred  to  drawers.  Screw 
the  top  box,  etc.,  to  table 
top,  and,  to  add  strength, 
carry  the  backboard  down 
and  screw  to  under-carcase, 
as  in  Fig.  5.  The  move- 
ments upon  which  the  glass 
will  swing  you  can  pur- 
chase at  any  cabinet  brass- 
founders.  You  will,  of 
course,  understand  that 
the  glass  is  held  in  posi- 
tion  in  a    rebate    on    the 


FIG. a 


framing,  and  secured  there  by  means 
of  a  backboard.  The  Bame  will  apply 
to  the  tiles  of  the  washstand,  which 
article  I  will  now  note.  It  is  frequently 
the  case  that  the  stand  is  constructed 
to  match  the  table,  i.e.,  it  has  pedestals 
containing  drawers ;  but  a  table,  on 
the  lines  shown  in  Fig.  2,  is  sometimes 
the  best  form.  There  is  something  in 
the  appearance  presented  by  square 
legs  that  I  admire,  but  it  is  hardly 
necessary  to  point  out  that  turned 
ones  will  answer  the  purpose  as  suffi- 
ciently well.  To  the  leg  blocks  will 
be  joined  a  J  or  f-inch  framing  at 
sides  and  back,  about  5  or  6  inches 
deep,  as  in  Fig.  7.  At  the  bottom  of 
the  framing  will  be  screwed  a  rail,  as 
in  Fig.  8.  At  the  front,  an  upper  and 
a  lower  rail  will  be  tenoned  to  the  leg 
blocks,  with  a  middle  division  to  receive 
the  drawers.  Join  cross  rails  to  these 
framings,  at  sides  and  middle,  to  act  as 
draw  runners.     Top  will  be  merely  a 


AMATEURS  IN  COUNCIL. 


103 


framing  with  pediment  and  brackets 
screwed  to  it  A  marble  mason  will 
drill  holes  through  the  marble,  in  order 
that  it  may  be  screwed  to  all  top  parts. 
Suitable  dimensions  are,  each,  3  feet 
6  inches  long,  23  inches  high  ;  18 
inches  from  back  to  front ;  glass  (out- 
side), 18  inches  by  24  inches ;  top  boxes, 
4  or  5  inches  deep;  tiles,  6  inches 
square,  each  ;  legs,  2  inches  thick. — 
J.  S. 

Fitting  Hatch  to  Model  Yacht. 
H.  B.  (Jarrow-on-Tyne)  writes : — 
"  In  reply  to  your  request  as  to  the 
above,  proceed  as  follows :  First 
arrange  before  putting  in  the  deck- 
beams  where  you  will  have  your  hatch 
— -for  a  cutter,  about  2  or  3  inches  abaft 
the  mast  will  do  ;  but  in  case  you 
should  at  any  time  think  of  altering 
the  rig  to  a  schooner,  it  will  be  as  well 
to  keep  it  as  close  to  the  mast  as  pos- 
sible. A  convenient  size  is  about  3  by 
4J  inches ;  an  oval  one  looks  best,  but 
as  an  oblong  one  will  be  the  easiest  to 
fit,  I  will  describe  that.  Place  the 
beams  4J  inches  apart ;  after  fitting  on 
the  deck,  cut  ont  a  hole  3  by  4i  inches, 
fix  on  the  deck,  then  fit  between  the 
beams  2  pieces  of  mahogany  ih  inches 
long,  J  inch  square,  screw  from  the 
top  of  the  deck  with  a  screw  in  each 
eDd  flush  with  the  edges  of  the  hole ; 
then  fit  on  the  top  of  the  deck  4  pieces 
of  mahogany,  about  J  inch  square, 
flush  with  the  edges ;  mitre  the  ends, 
and  screw  the  two  end  pieces  through 
the  deck  and  into  the  beams,  the  side 
ones  into  the  fore  and  aft  pieces.  This 
forms  a  good  strong  hatchway  ;  the  top 
pieces  are  called  the  hatch-combings. 
Now  for  the  hatch  :  get  a  piece  of 
cedar  or  mahogany  3J  inches  by  5  \ 
inches,  about  J  inch  or  £s  inch  thick — a 
piece  of  cigar-box  does  nicely — round 
the  edges,  which  will  project  J  inch  all 
round  the  combing.  Form  this  into  a 
shallow  tray,  by  fastening  on  to  the 
underside  four  strips  of  wood  about  J 
inch  by  £  inch  edgeways ;  mitre  the 
corners,  put  two  screws  into  each  piece 
from  the  top  side,  fix  them  so  that  they 
are  \  inch  less  all  round  than  the  size 
of  the  hatchway,  the  difference  beim* 
made  up  by  fixing  on  with  thick  shellac 
varnish  strips  of  cork  a  full  £  inch 
thick  ;  glasspaper  smooth  after  fasten- 
ing on,  also  the  edges  of  the  hatchway, 
and  your  hatch  should  then  fit  like  a 


cork  in  a  bottle,  and  be  as  tight.  Be 
sure  and  use  brass  screws  throughout 
in  model  making.  The  cork  can  be 
procured  by  getting  some  good  sound 
wine-bottle  corks,  and  cutting  with  a 
sharp  knife ;  or  write  to  a  dealer  in 
natural  history  or  entomological  sun- 
dries for  a  sheet.  It  is  sold  in  sheets 
about  8  inches  by  12  inches  by  ^  inch 
thick.  Keep  a  small  piece  of  sponge  in 
the  model,  then  if  it  should  leak  a  little 
you  can  easily  put  your  hand  in  and 
mop  it  up.  Another  wrinkle  :  Procure 
a  bullock's  bladder  at  the  butcher's, 
clean  and  put  it  in  the  model,  blow  it, 
tie  tight,  put  on  the  hatch,  and  then 
you  can  defy  the  elements  ;  for  if  the 
batch  should  by  any  possibility  come 
off,  sufficient  water  could  not  get  in  to 
sink  your  ship.  I  remember  once  in  a 
gale  of  wind  trying  a  yacht  previous  to 
a  race,  when  in  the  middle  of  the  pond 
(a  very  large  one)  she  suddenly  van- 
ished ;  presently  I  thought  I  saw  just 
the  top  of  the  mast  and  the  end  of  the 
bowsprit ;  she  gradually  drifted  in, 
when  I  found  the  hatch  had  not  been 
properly  put  on  (it  was  fitted  differently 
to  that  described  above,  having  a  thin 
brass  bar  over  it,  so  that  it  could  not 
come  unshipped) ;  she  had  filled  and 
settled  down  by  the  stern,  but  as  the 
hatch  could  not  come  off,  I  surmised 
that  sufficient  air  remained  in  the  bow 
to  prevent  her  from  going  to  the  bot- 
tom ;  but  if  I  had  had  a  bladder  in,  she 
would  have  kept  on  a  pretty  even  keel, 
though  the  freeboard  would  have  been 
diminished.  Moral — Don't  forget  the 
bladder. 

Blue  Printing  Process. 

C.W.  Suitiison  (Northallerton)  writes : 
— "In  the  October  part  of  Amateur 
Work  (Vol.  II.)  you  gave  instructions 
for  working  the  blue  printing  process. 
I  procured  the  chemicals,  and  have  tried 
to  make  copies  of  a  fretwork  pattern, 
but  have  been  unable  to  get  one  right. 
I  enclose  part  of  the  best ;  but  you  will 
see  it  is  not  correct.  Can  you  inform 
me  the  reason  of  my  failure?  Is  the 
quantity  of  chemicals  right,  as  in  the 
former  part  of  Amateur  Work  an  ounce 
of  each  is  given  as  the  quantity,  but  I 
was  unable  to  get  a  copy  with  that." 

When  your  query  reached  me  I  had, 
strange  as  it  may  seem,  just  written  a 
short  article  on  making  blue  prints  and 
ferro-prusaiate  paper,  as  they  make  it 
vastly   different    here   (U.S.   America) 


from  the  description  given  by  "  Johan- 
nesberg "  in  the  October  number  of 
Amateur  Work,  although  his  method 
I  have  little  doubt  is  correct ;  but  as 
"  variety  is  the  spice  of  life,"  I  now  for- 
ward what  I  had  written  as  an  answer 
to  you.  You  are  in  error  in  one  or  two 
things:  your  paper,  judging  by  the 
specimen  sent  me,  is  not  what  it  should 
be  for  making  blue  prints.  A  hard, 
smooth  paper  should  be  employed,  so 
that  it  wilt  not  absorb  more  chemical 
than  required.  We  use  Hyperion  satin 
paper,  which  is  manufactured  in  France, 
and  doubtless  can  be  obtained  in  Eng- 
land. Secondly,  you  have  exposed  your 
print  too  long  (or  it  appears  so),  and 
have  what  is  known  as  "burnt"  it.  I 
enclose  a  few  samples  of  the  aforesaid 
paper,  so  that  you  may  be  guarded  in 
the  future.  Wishing  you  success,  I 
will  now  annex  what  I  wrote  before  I 
received  your  query. 

Ferro-Prussiale  Paper,  as  made  in  the 
States. 

I  was  much  interested  in  'Johannes- 
berg's  description  of  making  ferro- 
prussiate  paper.  The  way  we  make  it 
here  (Chicago,  His.)  differs  somewhat 
and  I  will,  with  the  Editor's  permission, 
give  a  short  description  as  to  how  a 
large  manufacturing  concern  in  this 
city,  with  whom  I  was  connected  some- 
time since,  made  their  blue  print  paper. 

The  two  formulas  they  used  when  I 
was  with  them,  two  years  since,  was  as 
follows.  They  both  make  good  prints, 
but  the  one  classified  as  b,  gives  the 
clearer  print : — 
a.     1  oz.  of  red  potash. 

1  oz.  of  citrate  iron  of  ammonium. 

1  pint  of  water, 
n.     1  oz.  of  red  potash 

lj  oz.  of  citrate  iron  of  ammonium. 

1^  pints  of  water. 

The  paper  they  use  for  making  the 
blue  print  paper  is  known  as  Hyperion 
satin  paper,  and  can  be  bought  in 
London  or  other  large  cities,  I  have 
little  doubt.  It  is  made  in  various 
widths,  and  in  lengths  of  ten  yards. 
It  can  be  bought  in  this  country 
from  Eugene  Dietgen,  76,  Deraborn 
Street,  Chicago,  Ills.,  who  is  the  sole 
agent  for  same.  I  give  this  for  the 
benefit  of  U.S.  readers.  Instead  of 
floating  the  paper  on  the  chemical, 
they  put  the  chemical  on  the  paper 
with  a  sponge,  commencing  in  one  of 


104 


AMATEURS  IN  COUNCIL. 


the  upper  corners  of  the  sheet,  and 
using'  a  rapid  circular  motion  until 
all  the  sheet  is  covered.  They  then 
quickly  (so  that  no  chemical  soaks  in 
paper)  squeeze  all  surplus  liquid  from 
sponge,  and  draw  same  heavily  and 
itraightly  down  the  paper,  thus  absorb- 
ing all  the  chemical  left  soaking  on  the 
surface.  Care  should  be  taken  in 
selecting  the  sponge ;  see  that  it  contains 
no  small  shells,  or  they  will  scratch 
your  paper,  and  make  unsightly  marks, 
which  naturally  spoils  the  appearance 
of  the  finished  blue  print. 

After  washing,  they  hang  the  print 
up  by  means  of  patent  American  clothes- 
pins, small  wooden  clips,  which  can  be 
bought  at  any  house  furnishing  store 
here  in  America,  and  can,  I  understand, 
be  bought  in  England  at  most  hardware 
dealers,  for  one  penny,  or  two  cents  each- 
These  clips  are  screwed  to  square  strips 
of  wood,  one  inch  in  thickness,  and,  of 
course,  as  long  as  required. 

The  way  they  exposed  or  printed 
their  drawings,  too,  is  very  different  as 
regards  the  frame.  Their  frames  were 
30  inches  wide  by  36  inches  long,  and 
had  rollers  affixed  to  them,  which  ran 
m  a  groove  track,  but  theirs  were  on  a 
large  scale,  and  the  size  and  weight 
demanded  a  track,  and  for  an  amateur's 
ordinary  use  I  will  submit  (with  the 
Editor's  acquiescence)  a  sketch  and 
description,  showing  how  I  made  a  blue 
print  frame,  which  is  very  similar  to 
that  used  by  them,  and  I  feel  sure  it 
will  fill  an  amateur's  requirements  to  a 
nicety,  and  the  print  will,  I  think,  come 
up  to,  if  not  Burpass,  his  expectations. 

To  an  impecunious  person  home- 
made blue  prints  are  a  great  boon,  as 
they  charge  10  cents,  or  od.,  per  foot  for 
making  prints  here ;  so  I  now  prepare 
my  own  paper,  also  make  my  own 
prints. — H.  J.  W.,  Chicago,  Ills. 

[If  0.  W.  Smithson  will  enclose  a 
stamped  addressed  envelope,  I  will 
forward  the  samples  of  paper  referred 
to.— Ed.] 

Index  to  Amateur  Work. 

George (Sidcup). — Your  plan 

is  a  good  one,  but  involves  a  lot  of 
trouble,  and  after  all  is  little,  if  any, 
better  than  the  method  I  adopt  of 
keeping  all  the  indexes  in  a  volume  by 
themselves.  You  can  get  the  indexes 
by  buying  the  November  part  of  each 
volume",     and     with     Lancaster    blind 


material,    brown-paper   and   glue,  you 
can  make  a  very  presentable  cover. 

Composition  of  Celluloid. 

"J.  A."  (Creioe),  asks  if  some  of  the 
readers  of  Amateur  Work  will  tell  him 
the  composition  of  celluloid,  and  how 
it  is  made. 

Switch  for  Electric  Bell. 
G.  I. — A  two-way  switch,  with  wires 
connected  as  those  shown  in  annexed 
rough  diagram,  will  suit  your  purpose. 
One  wire  from  the  bell  B  is  connected  to 
the  stud  A  on  the  switch  s,  whilst  the 
other  wire  from  the  bell  goes  to  the 
battery  c.  Prom  the  other  terminal  of 
the  battery,  a  line  wire  goes  to  the 
pivot  of   the   lever  or  arm,  l,  on  the 


w~ 

^e 

M 

s 

tL 

lit 

E 

'III' 

c 

switch.  A  branch  line  from  the  Morse 
instruments,  II,  to  the  bell  wire  on  one 
side,  and  to  the  other  stud  of  the  switch 
on  the  other  side,  will  provide  a  circuit 
for  this  instrument  when  the  bell  is 
thrown  out.  An  additional  arm  on  the 
pivot  at  h  will  place  both  instruments  on 
circuit  at  the  same  time  if  required. — 
G.E. 

Building  a  Greenhouse. 
Leslie  W.  Robertson  (Enfield). — In 
Vol.  I.  (Old  Series),  page  193,  you 
will  find  "  A  Small  Greenhouse  for 
Amateurs."  In  Vol.  II.  of  the  same 
series,  page  118,  "  Heating  Apparatus 
for  Small  Greenhouses,"  and  in  Vol.  II. 
(New  Series),  page  460,  you  will  find 
full  instructions  for  making  Greenhouse 
Sashes. 
Castings  for  Hand  Planing  Machine. 

R.  R. — The  castings  and  forgings  of 
hand  planing  machine  may  be  obtained 
from  Mr.  Thos.  Taylor,  Chester  Street, 
Hulme,  Manchester,  and  those  for  band 
drilling  machines  from  Mr.  J.  Reside, 
Rastrick,  Brighoiise,  Torks.  See  also 
page  532,  Vol.  I.  (New  Series).  The 
latter  gentleman  also  supplies  planing 
machine  castings  nearly  the  same. — 
Electron. 


Soldering  Iron.  t 
No  Name. — With  respect  to  your 
question,  "  Can  a  soldering  iron  be 
built  up  with  sheet  copper?"  I  must 
answer,  No  ;  it  cannot.  You  might  as 
well  say,  Can  I  build  up  a  loaf  with 
slices  of  bread?  You  say  you  have 
had  little  success  with  your  small  iron  ; 
probably  it  is  too  small,  and  will  not 
hold  sufficient  heat.  Try  a  larger  one.  . 
I  will  write  a  short  article,  dealing 
simply  and  clearly  with  the  subject,  if 
the  Editor  thinks  it  advisable. — L.  L. 

Light  Canoe  to  Carry  One  Person. 
P.  Bennett. — I  sent  your  inquiry  to 
Captain  Anthony  Weale,  who  replies: — 
"  I  can  refer  your  correspondent  to  Mr. 
J.    H.    Milne's  remarks 
on   '  Canoe    Making '  in 
Amateur  Work,  -Part  S, 
May,  1890.     There  are 
many    ways   of   making 
canoes.    The  skeleton  of 
a  boat  could  be  made  by 
a  basket-maker  of  flight 
twigs,    something:  like  a 
clothes-basket,    but    the 
work  to  be  much  more 
open,  then  covered  with 
No.  4  or  6  canvas,  and 
coated  with  paint  or  varnish  at  2s.  a 
gallon   (ship's    varnish).     Dimensions, 
6  feet   long,    2    feet    broad,    1^    feet 
deep.     It  would  stand  any  amount  of 
moving,  and  could  be  taken  anywhere 
by  one  person.      American  white  elm 
is  a  nice  wood  for   working   the  gun- 
wale, as  it  will   bend  like   whalebone 
when  steamed.  Ash  also  bends  easily." 

Dulcimer  Fittings. 
Lighthouse. — Music  wire  and  fittings 
may  be  had  of  T.  Dawkins  &  Co., 
Charterhouse  Street,  Holbom  Viaduct. 
I  am  not  sure  about  prices,  but  think 
steel  wire  is  2s.  8d.  per  pound,  in  2  or 
4  ounce  hanks ;  hitch  pins,  6d/per  lb. ; 
turning  pins,  about  3d.  per  doz.  I 
think  you  had  better  ask  for  zither 
tuning  pins  and  tuning  key,  or  hammer, 
to  fit,  price  of  which  is  about  Is.  Tell 
the  warehouseman  what  the  fittings  are 
for,  and  you  will  be  served  well. — 
B.  A.  B. 
LETTERS  RECEIVED  UP  TO  DEC.  5. 

Camera;  P.  C;  No  Name;  P.  M. 
McKie  ;  Crutch  ;  Bronchy  ;  W.  As- 
ton ;  P.  B. ;  A.  G.  Hay  ward  ;  E.  N.  T. 
Griffith  ;  G.E. ;  Roburt  Taylor  ;  R.R. 
(Portlaw,  Ireland) ;  Police  (India). 


PRESENTED    WITH    "AMATEUR    WORE,    ZLL.UST  ATEDi.    PART    XXVU.    (New    Series.)    FEBRUARY, 


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Ward.    Lock    *    Co..    Lonoon.    New    Yon*   *no    Melbourne. 


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■ 


HO  W  TO   MAKE   A    STEP-LADDER. 


105 


HOW  TO  MAKE  A  STEP-LADDER. 

By  J.  L  DWTER,  B.A. 


N  the  homely  step-ladder  we  have  a 
I  Wt  piece  of  work  -which  can  be  accom- 
plished by  the  very  freshman  in 
-carpentry;  hut,  withal,  a  piece  of  -work  which 
"should  he  carefully  considered,  and  not  under- 
taken without  some  knowledge  of  the  relative 
,  strength  required  in  the  various  parts.  When 
I  we  see  a  hodman  or  mason  swaying  high  up  in 
I  the  air,  upon  the  rungs  of  a  very  weak  and 
slight-looking  ladder,  we  are  impressed  with  the 
\ conviction  that,  simple  as  it  looks,  the  step- 
|  ladder   performs   a  very   important   duty,   and 


pFIG.    I.— SIDE  OF   LADDER    SHOWING  CLEATS   NICKED  IN. 

gught  to  be  as  strong  and  safe  as  it  can  possibly 
je  made. 

In  this  short  paper  I  will  describe  how  two 
orts  of  ladders  can  be  made ;  the  first  by 
•riling  cleats  to  the  sides,  and  the  second  by 
sing  a  sawn  pole  and  the  ordinary  rungs. 
I  have  now  in  my  possession  a  very  nice  light 
kdder  of  my  own  construction,  which  I  will 
kke  as  a  model  for  my  first.  It  is  all  made  of 
|hite  deal,  without  a  knot  or  shake  throughout, 
Fhich  is  an  important  thing  in  a  ladder.     If  I 

Vol.  III.  (New  Series).— Part  27. 


had  my  choice  of  wood,  however,  I  think  I 
would  take  larch,  than  which  there  is  no 
tougher  or  more  durable  timber  for  the  purpose. 
The  sides  of  my  ladder,  which  are  ten  feet  long, 
are  Z\  inches  wide  and  \\  inches  thick,  and  the 
cleats  which  compose  the  rungs  are  2  inches  by 
1^  inches.     The  length  of  these  cleats,  which  is 


j]-~  ,p$f]a 


FIG.  2.— IKON    STAY    KOD. 

also  the  breadth  of  the  ladder,  is  15  inches  ;  but 
an  inch  less  would,  perhaps,  be  more  suitable. 
The  space  between  each  step  is  just  a  foot,  i.e., 
the  distance  from  the  upper  edge  of  one  cleat  to 
the  upper  edge  of  the  next.  Sometimes  the 
steps  are  closer  together,  frequently  only  nine  or 
ten  inches  apart ;  but  I  find  no  inconvenience  in 
the  longer  step,  and  so  I  make  the  foot  a 
standard. 

When  the  wood  is  procured,  the  first  thing 
to  do  is  to  clean  it  nicely  with  the  plane,  and 
very  slightly  round  off  the  corners.  The  cleats 
will  probably  be  purchased  in  long  lengths,  and 
it  would  be  wise  to  clean  them  thus  before  they 
are  cut  short. 

The  sides  may  now  be  laid  on  the  bench,  edge 
up,  and  a  pencil  mark  drawn  square  across  both, 
just  a  foot  from  the  end  which  is  to  be  the 
lower  of  the  ladder ;  every  foot  from  that  up  a 
similar  line  may  be  drawn,  using  a  square  to 
insure  accuracy. 

Some  good  stout  nails,  3  inches  long,  must  now 
be  procured,  with  which  to  attach  the  steps  to 
the  sides.  The  best  kind  for  the  purpose  would> 
undoubtedly,  be  wrought  nails,  but  they  are 
rather  expensive  ;  and  a  very  good  substitute  is 
to  be  found  in  a  superior  sort  of  cut  nail  which 
I  buy  under  the  name  of  "Canadian  nails,"  I 
think.  As  the  nails  come  so  near  the  ends  of 
the  cleats,  these  latter  must  be  bored  to  prevent 
splitting,  the  best  tool  for  the  purpose  being  a 
small  shell  bit  with  a  brace ;  a  gimlet  would, 
of  course,  answer  as  well,  but  it  is  tiresome  to 
use  for  a  long  time.  The  holes  should  be  bored 
so  that  they  will  not  enter  the  same  grain  of 
the  sides.  If  the  lower  one  be  bored  \  incn 
from  the  end,  and  \  inch  from  the  lower  edge 
of  a  cleat,  and  the  upper  \  inch  from  the  upper 

K 


106 


BO  IV  TO  MAKE  A    STEP-LADDER. 


edge,  and  an  inch  from  the  end,  it  will  do 
famously ;  there  will  thus  be  two  nails  at  each 
end  of  the  cleats. 

Taking  now  a  cleat  in  one  hand,  and  placing 
it  across  the  sides,  so  that  the  lowest  line  may 
appear  above  it,  a  nail  may  be  driven  at  each 
end  into  the  sides.  If  there  is  any  tendency  to 
split,  these  may  be  bored,  as  the  cleats  were. 

The  top  cleat  may  be  affixed  in  a  similar 
manner,  the  top  line  appearing  just  above  it 
likewise.  The  square  must  now  be  brought 
into  requisition,  and  the  work  manipulated  until 
the  steps  are  square  with  both  sides  of  the 
ladder.  During  all  this  time  we  are  supposed 
to  have  the  work  lying  flat  on  the  bench  or 
floor.  "When  the  two  cleats  are  square  with  the 
sides,  other  nails  may  be  driven  through  the 
second  holes,  taking  care  to  verify  the  squareness 
of  the  work  after  each  is  driven  home. 

When  these  two  steps  are  secured  with  their 
full  complement  of  nails,  there  is  little  chance  of 
their  getting  out  of  truth,  but  still  it  would  not 
be  wise  to  strain  the  ladder  at  this  stage. 

All  the  other  steps  may  now  be  nailed  in 
place,  taking  care  that  the  pencil  line  appears 
just  above  each;  but  there  is  little  chance  of 
making  a  mistake  when  the  top  and  bottom 
ones  have  been  nailed  on. 

When  the  steps  are  satisfactorily  secured, 
their  ends  may  be  cut  off  flush  with  the  outer 
surfaces  of  the  sides,  and  rounded  off  so  as  to 
present  a  smooth  edge  or  corner,  in  case  the 
hand  should  be  brought  into  contact  with  them. 

A  couple  of  coats  of  oil  paint  will  complete 
this  very  useful  and  handy  ladder.  I  find  that 
the  nails  alone  are  amply  sufficient  to  hold  the 
rungs  in  place,  and  I  never  trouble  myself  about 
anything  farther.  It  is  not  unusual,  however, 
to  see  ladders  having  their  sides  notched  for 
the  steps,  as  shown  in  Fig.  1 .  If  this  plan  be 
adopted,  the  notches  should  be  very  shallow, 
and  the  lower  or  inner  corner  rounded. 

It  would  be  a  fatal  mistake  to  let  the  saw  go 
down  too  far  in  cutting  the  notch,  as  at  a;  a  ladder 
thus  weakened  would  be  sure  to  break  some 
time,  sooner  or  later,  at  that  point. 

It  is  not  generally  understood,  but  it  is  none 
the  less  true,  that  a  bar  of  any  material  which 
has  one  part  of  its  section  suddenly  diminished, 


1 


i 


is  weaker  than  if  the  whole  length  of  the  bar 
were  diminished  to  the  same  extent.  For 
instance,  if  the  saw  cut  at  a  (Fig.  1)  were 
an  inch  deep,  the  ladder  would  be  weaker  than 
if  the  sides  were  made  of  stuff  an  inch  thinner. 
The  reason  is  obvious.  The  deflection  under 
strain  which,  in  the  one  case,  would  be  dis- 
tributed throughout  the  entire  length,  and  make 
only  a  gentle  curve,  would,  in  the  other  case, 
all  run  to  the  weak  part,  and  cause  it  to  snap  off. 

A  uniform  rod  of  ash  may  be  bent  almost  to 
a  circle,  but  if  one  part  is  nicked,  it  will  snap 
off  long  before  it  can  be  bent  to  the  same  extent. 

If  a  ladder  of  more  than  12  or  13  feet  be 
required,  it  is  better  to  make  it  with  the  ordinary 
rounds  or  rungs,  the  sides  being  made  of  a 
larch  pole.  This  will  require  to  be  straight  and 
tapering,  not  too  thick,  and  certainly  and 
decidedly  not  too  thin. 

For  a  ladder  30  feet  long,  the  base  may 
be  from  4 J  to  5£  inches  in  diameter,  and  the  top 
from  2^  to  3-J-.  The  pole  having  been  selected, 
should  be  sawn  straight  through  the  centre  from 
end  to  end.  It  is  important  that  both  sides 
should  be  of  the  same  strength,  otherwise  one 
will  bend  more  than  the  other,  and  have  a 
tendency  to  throw  the  ladder  round ;  any  slight 
difference  in  the  sawn  sides  can  be  removed  in 
the  subsequent  cleaning.  This  can  well  be 
performed  with  a  jack-plane,  the  spokeshave 
being  sometimes  brought  into  requisition ;  but 
the  less  the  latter  is  used  the  better.  The  saw 
marks  on  the  flat  side  will  be  removed  with  thi 
plane,  and  the  edges  between  the  semicircular 
and  flat  sides  of  each  rounded  nicely  off  leavin 
no  splinters  to  hurt  the  hands  afterwards.  When 
all  this  has  been  done,  both  sides  are  to  be  tiedj 
together,  face  to  face  in  the  position  they^ 
originally  occupied,  with  ropes  at  intervals,  and' 
the  boring  may  be  done. 

To  do  this,  the  pole  should  be  laid  so  that  the,' 
cut  in  its  centre  is  quite  horizontal,  and  th 
marks  for  the  centre  screw  of  the  auger,  whicl 
may  now  be  made,  should  be  equidistan' 
from  the  cut.  This  can  easily  be  done  b 
measuring  half  the  circumference  of  the  pol 
where  each  rung  comes,  halving  that  again,  an 
placing  the  mark  for  the  auger  that  distant 
from  the  saw-cut.     The  object  of  all  this  care  ii 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


107 


to  have  an  equal  quantity  of  wood  at  each  side 
of  the  hole. 

The  holes  are  bored  with  an  auger,  holding  it 
as  vertical  as  possible,  which  can  be  sometimes 
tested  with  a  plummet. 

The  size  of  the  holes  may  vary  somewhat,  but 
^  inch  or  £  inch  does  admirably. 

Leaving  now  the  sides,  we  may  prepare  the 
rungs.  These  are  of  hard  wood,  ash  or  oak ; 
the  centre  is  from  \\  inches  to  1  \  inches  in 
diameter,  and  they  taper  from  that  to  the  ends 
where  they  are  parallel  at  the  part  that  enters 
the  sides. 

A  hole  should  be  bored  in  a  piece  of  hard  wood 
with  the  same  auger  that  bored  the  sides,  and 
this  used  as  a  gauge  with  which  to  test  the  ends 
of  the  rungs.  When  the  point  goes  tightly  into 
the  gauge,  and  the  maker  can  judge  with  his 
eye  that  the  rung  is  parallel  for  a  sufficient 
distance,  he  can  let  it  pass.  An  obvious  result 
of  having  them  too  tight  would  be  to  split  the 
sides,  which  would  be  a  terrible  disaster. 

Having  the  rungs  all  prepared,  it  would  be 
well  to  decide  whether  stay  rods  will  be  used. 
These  resemble  iron  rungs,  and  are  made 
of  |-inch  iron,  having  collars  bearing  against 
the  inner  surfaces  of  the  sides,  and  nuts  outside, 
to  prevent  them  equally  from  going  apart  or 
coming  together,  although  the  latter  is  not  a 
very  likely  contingency.  These  bars  are  usually 
placed  a  couple  of  inches  under  a  rung,  and  there 
are  two — one  near  the  top,  and  one  near  the 
bottom.  In  long  ladders  an  intermediate  one 
is  sometimes  put  in.  In  Fig.  2,  I  show  a  stay 
rod.  Holes  may  be  bored  for  the  stay  rods  at 
the  same  time  as  for  the  rungs.  Stay  rods 
sometimes  take  the  place  of  rungs.  The  upper 
side  may  now  be  taken  off,  and  the  rungs  driven 
into  the  holes  of  the  lower  one,  the  stay  rods 
being  also  put  in  place.  Help  should  now  be 
secured,  and  the  top  side  put  in  place,  each 
rung  being  pulled  opposite  the  corresponding 
hole.  If  ropes  be  tied  round  the  ladder  at 
intervals,  and  short  sticks  passed  through  so  as 
to  twist  them  up  like  the  straining  cord  of  a 
bow  saw,  the  sides  can  be  brought  gently 
together,  and  with  occasional  assistance  from  a 
heavy  hammer  and  bit  of  wood,  no  great  trouble 
will  be  found  in  bringing    the    rungs    home. 


They  should  be  wedged,  when  in  place,  with 
hard  wood  wedges,  a  chisel  first  making  an 
opening.  These  wedges  will  be  across  the 
ladders,  lest  they  should  split  the  sides.  The 
ends  of  the  rungs  will  now  be  reduced  with  saw 
and  plane  to  the  level  of  the  sides,  and  a  couple 
of  coats  of  paint,  as  before,  will  finish  the  job. 


HINTS  ON    HOUSE   DECORATION 
BY  PHOTOGRAPHY. 

By    R.   A.     R.     BENNETT,    B.A.,    President    of     the 
Photographic  Section,  Oxford  Natural  History  Society. 


II. 


—Films  for  Transparencies— A  Lamp  Shade — 
Ivory  Films— A  Hall  Lamp — Transferotype 
Paper  —  Lamp  Globes  —  Cups  —  Plates— Opals — 
Opal  Enlargements— Printing  on  Fabric — Novel 
Method  of  Decorating  Chair-back. 

ILMS  make  very  good  transparencies, 
and  their  surfaces  being  ground,  the 
defect  of  too  clear  shadows  never 
occurs  with  them.  With  either  glass  or  films  a 
splendid  lamp  shade  may  easily  be  made ;  if 
with  glass  it  will  need  a  metal  frame  to  hold  the 
transparencies,  and  the  glass  must  not  fit  the 
frame  too  tightly,  or  the  heat,  causing  it  to 
expand,  may  break  the  glass.  Perhaps  for  the 
ordinary  amateur  it  is  easier  to  construct  one  of 
films,  the  only  difficulty  being  that  the  films 
have  a  slight  tendency  to  cockle,  owing  to  the 
heat ;  but  when  cold  they  straighten  again,  and 
the  lamp  shade  can  be  folded  up  as  usual,  the 
films  not  interfering  with  it  in  any  way. 

To  make  a  lamp  shade  thus,  procure  or  make 
one  of  very  thick  cardboard  (or  even  zinc  or 
tin  would  answer,  and  keep  the  films  from 
cockling),  composed  of,  say,  six  pieces  of  the 
following  shape  (Fig.  5) ;  now  cut  holes  in  each 
side  a  little  smaller  than  the  transparencies  to 
be  inserted  (as  shown  at  a,  b,  c,  d  in  the  Fig.) 
Of  course,  the  holes  can  be  any  shape,  but  do 
not  have  them  too  large,  or  there  will  not  be 
enough  strength  in  the  frame  to  keep  the  films 
straight.  The  films  may  be  the  ordinary  negative 
celluloid  films,  of  any  brand  with  which  the 
reader  can  get  good  results.  They  can  be 
fastened  on  the  inside  of  the  frame,  by  simply 
glueing  the  edges  to  the  frame,  and  sticking 
tape  over  them  all  round.    Of  course  all  this  is 


108 


HINTS  ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


invisible  from  the  outside  of  the  shade.  Put 
the  gelatine  films  outside  ;  it  is  a  pity  that  this 
has  to  be  done,  but  it  cannot  be  helped,  as 
unless  you  are  printing  from  a  reversed  negative 
the  views  are  reversed,  and  look  very  comical 
to  a  person  who  knows  the  places.  If  films 
are  used  to  print  from,  they  can  be  printed  from 


FIG.  5. — SHAPE  OF  SIDE   OF   LAMP   SHADE. 

the  celluloid  side,  and  the  picture  will  then  be 
reversed  as  required.  Or  the  "  Autotype  strip- 
ping plates,"  sold  by  the  Autotype  Company, 
Brownlow  Road,  Ealing  Dene,  W.,  are  made 
expressly  for  the  purpose  of  producing  negatives 
capable  of  printing  reversed  positives.  You  can 
varnish  the  films  to  protect  them  from  injury  ; 
the  best  varnish  for  the  purpose  is  simply  an 
old  celluloid  film  with  the  gelatine  taken  off  (by 


FIG.  7. — LAMP  GLOBE  ORNAMENTED  BY  TRANSFEROTYPE. 

means  of  hot  water  and  a  stiff  brush),  cut  up 
into  shreds,  and  dissolved  in  as  little  methylated 
spirits  as  possible  to  form  a  thick  varnish  ;  this 
can  be  applied  cold,  and  soon  dries.  When 
varnished  with  this  the  film  is  obviously  cellu- 
loid on  both  sides.  I  give  an  illustration  of  a 
lamp  shade  made  thus  by  myself  (Fig.  6). 

"While  on  the  subject  of  films,  I  should  men- 
tion a  new  process  comparatively  recently  intro- 


duced, viz.,  that  which  goes  by  the  name  of 
"  ivory  films  "  ;  though  they  are  really  celluloid, 
they  look,  however,  exactly  like  very  elaborate 
etchings  on  sheet  ivory.  These  were,  I  believe, 
originally  introduced  by  Mr.  E.  H.  Eitch,  of  34, 
Angell  Road,  Brixton,  London,  S.W.  ;  later  on, 
they  have  been  made  by  the  Ery  Manufacturing 
Co.,  5,  Chandos  Street,  Covent  Garden,  E.C. 
The  latter  I  have  tried  with  great  success ;  in 
fact,  it  is  one  of  the  most  striking  processes  I 
know  of,  and  the  films  lend  themselves  well  to 
artistic  decoration.  Wi1h  an  average  negative 
the  exposure  would  be  about  6  to  10  seconds 


FIG.      6.— LAMP     SHADE     ORNAMENTED     WITH 
TRANSPARENCIES. 


4  feet  from  a  gas  flame ;  with  a  candle  the 
exposure  would  have  to  take  place  much  nearer 
the  flame  for  the  same  time.  The  formula  used 
is  generally  hydroquinone,  for  which  Fitch's 
formula  is  as  follows  :  Hydroquinone,  5  grains ; 
carbonate  of  potash  (pure  anhydrous),  15 
grains ;  sulphite  of  soda,  20  grains ;  distilled 
water,  1  ounce.  To  each  ounce  of  this  add  3  to 
4  drops  of  a  10  per  cent,  solution  of  bromide  of 
potassium.  CareTmust  be  taken  that  the  nega- 
tive is  dry  when  making  the  exposure,  or  the 
gelatine  films  will  both  be  spoilt. 

On  taking  the  ivory  film   out  of  the  frame 
after  exposure,  it  should  be  placed  in  a  clean 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


109 


dish,  and  flooded  -with  water,  taking  care  that 
no  air-hells  are  formed  on  its  surface,  which  can 
be  prevented  by  gently  passing  a  camel's-hair 
brush  over  it ;  if  any  form  and  remain,  the 
developer  -will  not  take  effect  in  those  places,  and 
•will  leave  blots  on  the  film.    Pour  off  the  water, 


FIG.  8. — CUP   ORNAMENTED    BY   TRANSFEROTYPE. 

and  put  in  the  developer — ferrous  oxalate,  or 
hydroquinone,  as  the  case  may  be  ;  the  image 
will  then  appear,  if  correctly  exposed,  in  about  a 
minute.  Development  must  go  on  till  the  full 
detail  is  out,  and,  if  anything,  the  picture  should 
look  rather  dark.  When  finished,  the  film  is 
taken  out  and  put  into  the  fixing  solution  (hypo- 
sulphite of  soda,  1  ounce ;  water,  1 0  ounces) 
until  thoroughly  fixed,  which  may  be  known  by 
the  yellow  colour  of  the  film  disappearing.  Let 
it  remain  in  the  fixing  bath  for  five  minutes 
after  this,  and  then  wash  in  successive  changes 


FIG.  9. — PLATE  ORNAMENTED    BY   TRANSFEROTYPE. 

of  cold  water;  upon  the  thorough  washing  of 
the  film  depends  its  permanence,  according  to 
the  makers.  "When  thoroughly  washed,  the  print 
may  have  a  colour  due  to  prolonged  develop- 
ment ;  if  so,  it  may  be  passed  through  the 
following  bath  to  remove  the  colour  :  water,  80 
ounces  ;  sulphuric  acid,  1  ounce.  While  in  this 
the  surface  of  the  print  can  be  very  gently 
Tubbed  with  a  small  tuft  of  cotton  wool ;  when 


the  colour  has  departed,  the  film  is  once  more 
thoroughly  washed,  to  get  rid  of  traces  of  acid, 
and  then  dried.  I  always  find  when  drying  them 
that  they  curl  up  to  such  an  extent  that  it  is 
difficult  to  keep  them  in  an  ordinary  draining 
rack,  as  used  for  negatives.  They  can  be  placed 
in  one  to  drain  at  the  beginning,  but  when  they 
curl  up  they  are  best  removed  and  placed  film 
side  upwards  on  a  table  ;  when  dry,  they  will  in 
most  cases  become  flat  again. 

These  films  are  beautiful  objects  looked 
through  at  the  light,  and  they  could  be  used  for 
the  lamp  shade  instead  of  negative  films,  with 
very  good  effect ;  in  fact,  they  have  the  additional 


FIG.    IO.— BACK   OF  CHAIR   WITH    PHOTO. 

advantage  of  showing  off  by  daylight  as  well  as 
when  the  lamp  is  inside  the  shade. 

Those  who  have,  or  can  get,  the  February 
part  of  Amateur  Work  for  1884  (page  167, 
Volume  III.),  will  find  therein  an  account  of 
making  a  hall  lamp  with  very  simple  materials. 
Now,  instead  of  using  painted  glass,  "bysso- 
phanie,"  etc.,  as  there  described,  you  can  use 
some  of  your  transparencies  with  much  more 
telling  effect.  In  this  case,  as  the  source  of 
illumination  is  comparatively  small,  you  had 
better  back  the  transparencies  with  ground 
glass,  or  the  form  of  the  light  shows  too  much ; 
what  one  wants  being  a  general  illumination 
over  the  whole  surface  of  the  glass.  The 
measurements  given  in  the  article  can,  of  course, 
be  easily  altered  to  take  i-plates  or  whole  plates, 


110 


HINTS  ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


as  may  be  desired,  or  a  transparency  larger  than 
the  size  given  can  be  easily  cut  with  a  diamond 
on  the  glass  side,  and  then  bent  sharply,  so  as 
to  cut  through  the  gelatine  without  tearing  it  off. 

I  said  just  now  that  the  film  side  of 
the  plate  must  be  placed  outwards.  There  is 
only  one  method  of  obviating  this  of  which 
I  know,  namely,  by  using  the  "  transfero- 
type  paper,"  introduced  by  the  Eastman  Com- 
pany, 115,  Oxford  Street,  London,  W.  This 
very  ingenious  process  is  in  frequent  demand 
for  making  transparencies,  etc.;  but  at  the  same 
time,  if  one  can  use  ordinary  plates,  or  trans- 
parency plates,  one  can  obtain  better  results. 
-By  the  use  of  the  transferotype  paper,  however, 
we  obtain  a  reversed  picture,  which  is  what  we 
want  in  the  case  of  the  lamp  shade  mentioned 
above.  The  film  of  this  paper  is  the  same  as 
that  of  the  Eastman  bromide  paper,  and  it  can 
therefore  be  developed  with  any  ordinary 
developer  ;  but  as  a  great  deal  of  its  transferring 
power  depends  on  what  it  is  developed  with,  it 
is  as  well  to  adhere  to  the  ferrous  oxalate,  as 
recommended  by  the  makers.  Their  formula  is 
as  follows :  — 

No.  1. — Oxalate  of  potash,  1  lb.;  hot  water, 
48  ozs. ;  acetic  acid,  3  drachms. 

No.  2. — Proto-sulphate  of  iron,  1  lb. ;  hot 
water,  32  ozs. ;  acetic  acid,  \  drachm  (or  citric 
acid,  \  oz.). 

No.  3. — Bromide  of  potassium,  1  oz. ;  water, 
32  ozs. 

When  about  to  develop,  take  6  ounces  of  No. 
1,  and  add  to  it  1  ounce  of  No.  2,  and  \  drachm 
of  No.  3  ;  wait  till  the  solutions  are  cold  before 
mixing.  The  paper  is  exposed  to  a  gas  or  candle 
flame  behind  a  negative,  just  as  in  the  case  of 
ordinary  bromide  paper ;  when  exposed,  it  is 
placed  in  a  dish  of  cold  water  for  a  few  minutes, 
to  soak  it,  and  is  then  placed  in  the  mixed 
developer.  The  image  should  then  come  out 
slowly,  and  should  have  plenty  of  contrast  in  it. 
When  the  shadows  are  black  enough,  pour  off 
the  developer,  and  put  the  print  into  a  clearing 
bath  composed  of  acetic  acid,  1  drachm  ;  water, 
32  ounces.  The  print  must  not  be  washed 
between  these  baths,  as  the  action  of  the  acetic 
acid  is  to  remove  traces  of  iron  in  the  print,  and 
prevent  possible  precipitation  by  water.      Use 


enough  clearing  solution  to  flow  easily  over  the 
print ;  when  it  has  been  on  it  for  a  minute,  pour 
it  off,  and  pour  on  a  fresh  quantity  ;  repeat  this 
a  third  time,  and  the  print  will  be  sufficiently 
cleared.  It  is  then  rinsed  in  pure  water,  and 
fixed  in  a  bath  of  hyposulphite  of  soda,  3 
ounces;  water,  16  ounces  ;  where  it  remains  for 
ten  minutes.  After  fixing,  the  print  ia 
thoroughly  washed  for  half  an  hour  in  running, 
or  frequently  changed,  water,  and  is  then  ready 
to  be  transferred.  This  process  consists  in 
placing  the  wet  print,  face  downwards,  on  the 
article  to  be  ornamented,  then  "squeegeeing" 
it  with  a  piece  of  blotting  paper  and  a  rubber 
roller  until  most  of  its  moisture  is  absorbed,  and 
it  is  then  left  to  dry  for  half  an  hour,  putting  some 
blotting  paper  and  a  heavy  weight  on  the  top 
of  it.  When  dry,  hot  water  is  poured  over  the 
back  of  the  print  until  the  paper  blisters,  and  it 
is  then  gently  pulled  off  the  film,  which  is  thus 
left  adhering  to  the  object  desired.  The  paper. 
may  be  stripped,  according  to  the  makers,  any 
time  after  the  print  has  been  thirty  minutes 
under  the  blotter,  but  it  is  safer  to  let  it 
thoroughly  dry. 

It  is  evident  that  our  object  is  to  get  the  film 
to  come  off  with  as  little  trouble  as  possible  -r 
any  resistance  may  cause  a  rupture,  and  spoil 
the  picture.  For  this  reason  no  alum  bath 
must  be  used,  nor  any  developer,  such  as  hydro- 
quinone,  which  has  a  hardening  effect  on  the 
film,  and  would  tend  to  keep  paper  and  film 
together. 

I  have  never  found  the  slightest  difficulty  in 
working  this  process,  but  I  hear  that  sometimes 
it  is  rather  difficult  to  get  the  film  to  come  off 
entire.  I  simply  leave  the  print  on  till  quite 
dry,  and  then  pour  hot  water  from  a  jug  over  it 
till  the  paper  becomes  raised ;  then  a  slight  pull 
or  two  brings  it  off.  The  temperature  of  the 
water  needs  attention;  it  must  be  from  160°  to 
180°  Fahrenheit,  or,  if  only  half  an  hour  has 
been  allowed  for  drying,  the  temperature  should 
be  130°  Fahrenheit,  and  successive  portions  of 
water,  becoming  hotter  and  hotter,  should  be 
poured  over  the  paper  until  it  blisters.  This- 
process  obviously  lends  itself  very  considerably 
to  household  decoration  of  all  kinds,  and  I  have 
therefore   given  rather  fuller  details  as  to  its- 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


Ill 


accomplishment  than  I  should  otherwise  have 
done.  Plaques,  lamp-glasses,  tiles,  cups  and 
saucers,  almost  anything  can  be  decorated,  and 
the  effect,  if  care  be  taken,  is  generally  very 
good.  Lamp  globes  (as  Fig.  7)  are  best  orna- 
mented with  circular  pictures,  the  square  shape 
giving  a  rather  distorted  result  on  a  circular 
surface.  Cups  of  the  shape  given  in  Fig.  8  are 
the  best  for  this  work,  being  circular  in  one 
direction  only,  and  not  from  top  to  bottom  as 
welL  Plates,  of  course,  are  easily  managed.  I 
give  an  illustration  of  one  with  a  photograph  of 
Aiuie  Hathaway's  Cottage  in  the  centre  (Fig.  9). 
There  is  one  slight  difficulty  about  these 
articles,  and  that  is  that  cups  and  plates,  if 
they  are  to  be  used,  must  be  occasionally 
washed  !  This,  of  course,  would  ruin  the  trans- 
ferotype  at  once,  and  has  to  be  guarded  against 
by  coating  the  transferred  picture  with  "  dam- 
mar varnish,"  which  is  easily  obtained  from 
any  chemist,  and  can  be  simply  painted  over  the 
picture  with  a  brush.  After  this  the  varnish  is 
hardened  by  being  baked  in  an  oven  for  some 
hours,  and  the  object  will  then  bear  washing — 
for  a  short  time,  at  all  events.  Two  or  three 
coats  of  varnish  might  be  put  on  with  advantage. 
Care  must  be  taken  that  the  oven  is  not  too  hot, 
or  the  varnish  will  be  burnt  brown,  and  spoil  the 
look  of  the  picture. 

Amateurs  who  work  the  Autotype  process 
could  easily  use  the  paper  on  which  the  prints 
are  made,  in  just  the  same  way  as  the  transfero- 
type  paper  ;  of  course  transferring  the  gelatine 
film  to  the  article  to  be  decorated  first,  and  then 
developing  with  hot  water  as  usual. 

Opah  are  becoming  such  familiar  objects  in 
the  shops,  that  there  is  no  need  to  give  any 
explanation  as  to  what  they  are.  However,  the 
intrinsic  value  of  an  opal  with  a  photo  of  one's 
own  on  it,  is  so  far  above  that  of  a  stock  subject 
purchased  at  a  shop,  that  it  is  well  worth  while 
to  purchase  the  opal  ready  prepared,  and  finish 
it  oneself.  The  emulsion  is  printed  in  exactly 
the  same  way  as  ordinary  silver  paper,  but 
each  time  of  examining  it,  it  is  necessary  to  take 
out  the  opal,  as  of  course  it  will  not  admit  of 
being  bent.  The  best  plan  to  get  it  back 
always  into  the  same  position,  is  either  to  push 
opal  and  negative  into  the  corner  of  the  frame 


each  time,  or,  if  a  frame  larger  than  the  opal  is 
used,  to  fasten  the  back  of  the  opal  temporarily 
to  the  back  of  the  frame  by  some  substance, 
such  as  "Prout's  elastic  glue,"  which  can  be 
easily  removed  when  the  printing  is  finished  ; 
a  rag  dipped  in  spirit  of  turpentine  will 
remove  the  last  traces  of  the  glue.  The  opal 
when  printed  is  toned  and  fixed  in  a  similar 
way  to  ordinary  silver  paper  prints,  the  fixing 
bath  being  2  ounces  hypo  in  one  pint  of  water. 
A  rather  strong  toning  bath  is  necessary  to 
obtain  purple  tones,  and  the  printing  must 
be  carried  on  till  the  picture  is  darker  than  is 
actually  required,  to  allow  for  subsequent 
bleaching. 

Opals  can  obviously  be  used  for  all  those 
devices  which  I  have  given  for  prints  or 
opalines,  and  look  more  ornamental,  though 
they  are  also  more  expensive  to  make.  If 
preferred  they  can  be  made  into  very  handsome 
drawing-room  ornaments,  by  inserting  them  in 
plush  frames,  which  are  easily  made  or  can  be 
bought.  Enlargements  can  also  be  made  on 
opals  covered  with  more  sensitive  emulsion  ; 
those  called  the  "Snowdrift"  opals,  made  by 
Percy  Lund  k  Co.,  St.  John  Street,  Bradford, 
Torks,  are  to  be  printed  in  daylight  as  with 
silver  paper  ;  others,  such  as  the  "  Ilford  "  opals 
made  by  the  Britannia  Works  Co.,  Ilford, 
London,  E.,  are  coated  with  a  similar  emulsion 
to  dry  plates,  and  are  developed  in  the  same 
way. 

The  "  Platinotype "  process,  which  is  be- 
coming more  and  more  popular,  on  account  of 
the  beauty  of  its  results  and  their  permanence, 
may  be  used  to  ornament  one's  drawing-room 
in  various  ways.  This  work  is  very  suitable  for 
lady  amateur  photographers,  of  which  there  are 
no  doubt  some  amongst  the  readers  of  Amateur 
Work.  Full  instructions  as  to  the  process  can 
be  obtained  without  difficulty  from  the  Platino- 
type Company,  29,  Southampton  Eow,  High 
Holborn,  London,W.C. ;  and  here  it  is  therefore 
only  necessary  to  say  that  the  process  consists  of 
printing  from  a  negative,  as  in  ordinary  silver 
printing,  on  to  paper  sensitized  with  salts  of 
platinum  instead  of  silver.  The  image  is  barely 
visible  before  development,  but  when  this  is 
performed,  it  is  of  a  perfectly  black  colour,  and 


112 


A   NEGATIVE  DRYING  RACK. 


is  absolutely  permanent  for  all  practical 
purposes. 

Now  the  image  being  unattacked  by  any 
chemicals  with  which  it  is  likely  to  meet,  it  is 
evident  that  materials  other  than  paper,  if 
sensitized  with  this  preparation,  can  be  developed 
in  a  similar  manner,  and  will  afterwards  bear 
washing.  In  this  way  many  additions  may  be 
made  to  the  knick-knacks  in  our  drawing-rooms  ; 
for  example,  antimacassars,  d'oyleys,  and  such 
like  feminine  additions  to  the  appearance  of  the 
room  or  dinner-table,  may  easily  be  made  by 
procuring  suitable  fabric  ready  sensitised  from 
the  Company,  or  sensitizing  it  for  oneself.  The 
fabric  when  printed  on  is  immersed  in  a  bath  of 
hot  oxalate  of  potash  ;  and  to  do  this  I  use  two 
pieces  of  wood  T  shape,  one  of  which  has  bent 
pins  inserted  in  the  cross  piece,  with  which  the 
fabric  can  be  "  gripped  "  ;  the  other  is  merely 
used  to  press  the  fabric  down  into  the  solution 
as  it  travels  through  it,  for  if  any  part  remains 
out  of  the  solution  it  will  not  be  developed, 
which  will  spoil  the  appearance  of  the  picture. 
A  piece  of  fabric  with  several  pictures  jirinted 
on  it  makes  a  great  impression  on  the  beholder 
when  being  developed,  as  it  passes  into  the 
solution  practically  plain,  and  comes  out  the 
other  side  covered  with  pictures.  It  is  not  very 
easy  to  print  a  number  of  pictures  on  one  piece 
of  fabric.  I  can  only  suggest  that  a  large 
printing  frame  be  used,  and  masks  of  thick 
brown  paper  to  cover  over  the  fabric  except  just 
under  the  negative.  The  fabric  can  be  doubled 
to  go  into  the  frame,  a  different  place  being  in 
front  for  each  negative  ;  the  creases,  however, 
rather  mar  the  effect  when  finished,  and  the 
fabric  is  liable  to  fray  into  holes  where  it  has 
been  creased. 

Many  other  ways  of  making  use  of  Photo- 
graphy as  a  means  of  decorating  furniture  will 
very  likely  suggest  themselves  to  the  mind  of 
the  reader.  For  example,  in  the  late  Mr.  W.  B. 
Woodbury's  house,  the  backs  of  the  dining-room 
chairs  were  ornamented  with  portraits,  instead 
of  the  usual  pieces  of  carving  or  medallions, 
every  one  of  the  family  being  expected  at  meal 
time  to  occupy  that  chair  on  which  his  or  her 
likeness  appeared.  I  give  an  illustration  of  the 
back  of  a  chair  (Fig.  1 0)  treated  in  this  manner. 


A  NEGATIVE  DRYING  RACK. 

By  FRANK  S.  MORTON. 

N  page  184,  Volume  II.  (New  Series) 
of  Amateur  Work,  Mr.  Ed.  C.  Roe 
gives  a  comprehensive  description 
of  a  negative  draining  and  drying  rack.  I 
do  not  intend  to  suggest  any  improvement  on 
this  rack,  as  it  is  of  a  very  convenient  style, 
and  is  just  what  every  amateur  should  have 
But  among  the  many  readers  of  Amateur  Work 


FIG.   I. — THE  RACK   COMPLETE. 

there  are  probably  some  who,  while  being 
experts  in  photographic  or  scientific  work,  are 
not  adepts  at  handling  tools,  but  who  could 
perhaps  manufacture  a  simpler  and  more  easily 
constructed  rack.  For  the  benefit  of  such,  the 
rack  illustrated  in  the  two  figures  is  described. 


FIG.  2.— THE    RACK    WITH    NEGATIVES    IN    POSITION. 

It  consists  simply  of  two  strips  of  wood,  one  foot, 
or  longer,  as  desired,  and  J  inch  square,  with 
notches  \  inch  deep  and  1  inch  wide  cut  in  them 
1  inch  apart.  These  strips,  with  the  notches  in 
line,  are  fastened  2  inches  apart  by  means  of 
cross-pieces  at  each  end.  Fig.  1  shows  the 
affair  complete.  Drop  the  negative,  film  side 
up,  into  the  notches,  and  cant  it  back  until  it 
remains  firm.  The  number  of  negatives  the 
rack  will  hold  is  limited  only  by  its  length  and 
the  number  of  notches.  Any  and  all  sizes  of 
negatives  can  be  held  in  it.  Fig.  2  shows  the 
rack  partly  filled  with  negatives. 


AMATEUR  JEWELLERY  MANIPULATION  AND   REPAIRS. 


113 


AMATEUR     JEWELLERY 
MANIPULATION  AND  REPAIRS. 

By  'EXPERIENCED  AMATEUR." 

HIS  paper  is  offered  to  the  readers  of 
Ailateuk  "Work  with  the  double 
fejjJSJjl  object  of  affording  some  useful  hints 
towards  the  direction  indicated,  and  also  in  the 
hope  that  a  more  advanced  contribution,  from 
the  hands  of  a  thoroughly  practical  jeweller, 
may  be  forthcoming,  for  the  benefit  of  those 
readers  who,  like  the  writer,  take  an  interest  in 
various  fields  of  useful  work.  The  author  of 
this  short  article  is 
also  perfectly  ready 
to  "  stand  corrected  " 
at  the  hands  of  more 
practised  contribu- 
tors, and  will  will- 
ingly note  any  errors 
which  future  readers 
may  be  good  enough 
to  point  out,  either 
in  a  fresh  paper  or 
through  the  "  Council  Column." 

In  attempting  jewellery  work,  the  first  thing 
requisite  is  a  knowledge  of  soldering.  This  can 
be  read  up  in  the  past  pages  of  this  magazine, 
but  it  is  only  in  a  few  instances  that  "soft" 
or  tin  soldering  is  admissible.  The  joint,  so 
treated,  cannot  of  necessity  retain  the  high 
polish  of  which  a  proper  union  is  capable,  and 
though  this  form  of  joint  may  be  of  use  occa- 
sionally in  silver,  it  is  very  rarely  so  in  gold  ; 
in  fact,  if  not  carefully  used,  the  soft  solder 
will  eat  away  the  delicate  structure  of  gold 
filagree  work. 

The  first  requisite  necessary  in  the  way  of 
tools  is  a  jeweller's  "  wig  " — a  mass  of  iron  wire 
like  a  small  flattened  sponge,  mounted  upon  a 
stronger  wire  handle.  This  wig  is  extremely 
useful,  as  when  held  in  the  left  hand,  small 
objects,  such  as  lockets,  brooches,  etc.,  can  be 
laid  upon  it,  like  a  miniature  table,  and  the 
work  to  be  soldered  thus  brought  very  con- 
veniently, and  readily,  within  reach  of  the  blow- 
pipe jet.  The  blow-pipe  is  of  indispensable 
requisition,  and  may  be  of  the  usual  form,  with 


FIG.    I. — HANDY   ARRANGEMENT   OF  GAS  JET. 


or  without  an  air-chamber.  The  latter  is  useful 
to  catch  condensed  breath,  or  saliva,  which  has 
inadvertently  entered  the  tube.  The  best  form 
of  heat  is  the  gas  jet,  though  a  spirit  lamp  can 
be  used.  Whichever  medium  of  heat  is  chosen, 
the  manipulator  should  keep  to  it,  as  a  certain 
amount  of  practice  in  using  the  flame  is  neces- 
sary. As  it  is  probable  that  the  former  will,  in 
nearly  all  cases,  be  preferred,  we  will  proceed  to 
fit  up  the  proper  apparatus.  An  ordinary  gas 
jet,  from  its  rushing  source,  is  inadmissible. 
Procure  some  ordinary  indiarubber  tubing,  with, 
by  preference,  the  internal  wire  lining,  and 
having  attached  it  to  the  gas-burner,  bring  the 

other  end  down  to  a 
one  foot  length  of 
copper  or  brass  pipe, 
of  half-inch  diameter. 
Each  end  of  this  tub- 
ing can  be  secured  by 
lashing  with  string, 
but  that  passing  on 
to  the  piece  of  pipe 
alluded  to  is  better 
attached  by  wire 
lashing  left  permanently  fixed.  The  end  of  this 
pipe  must  be  cut  off  sloping  at  an  angle  of  about 
30°.  Next  procure  a  small  lidless  box,  such  as 
a  stout  cigar  box,  of  about  6  inches  deep,  turn 
it  over,  and  on  to  the  bottom  attach  by  screws 
two  small  strips  of  brass,  or  stout  wire,  so 
placed  in  the  centre  line  of  the  bottom  that 
the  brass  piping  can  be  held  horizontally 
about  1  inch  from  the  wood,  and  the  sloping 
mouth-piece  will  then  project  beyond  the 
inverted  bottom  of  the  box,  as  at  a,  Fig.  1. 
By  this  arrangement  the  jet  can  be  readily 
moved  about  on  the  bench,  and  the  gas  being 
turned  down  to  a  moderate-sized  flame,  all 
"rushing"  is  avoided.  In  attempting  any 
work  of  this  kind,  the  reader  should  bear  in 
mind  that  his  materials,  rather  than  the  tools, 
are  expensive,  and  therefore  he  will  do  well 
not  to  waste  much  silver  or  gold  metal  in  the 
necessary  practice  of  blow-pipe  soldering.  The 
practical  manipulation  may  be  acquired  on 
small  steel  chains,  such  as  are  often  used  for 
holding  keys.  These  would  soon  break  again  if 
repaired  with  soft    solder,  and   therefore  their 


114 


AMATEUR  JEWELLERY  MANIPULATION  AND  REPAIRS. 


small  surfaces  for  a  union  of  any  kind  can  be 
well  treated  with  silver  solder.  This  material 
is  sold  in  small  sheets  about  the  thickness  of  a 
sixpence.  Cut  with  your  tin  sheet  shears  a 
series  of  cuts,  say  half  an  inch  deep  along  one 
edge,  and  about  A  of  an  inch  apart ;  this  will 
give  the  appearance  of  a  rough  and  ready  comb. 
Then  cross-cut  these  "  teeth  "  again  at  similar 
distances,  thus  producing  small  grains  or 
"  pallions  "  of  solder;  keep  some  of  these  in  a 
small  pill-box,  ready  for  use.  Obtain  a  small 
piece  of  borax  and  a  piece  of  slate,  about  the 
size  of  half-a-crown,  then  a  fine  camel-hair 
brush  or  "pencil."  As  an  instance,  we  will 
endeavour  to  solder  the  link  of  a  broken  key  or 
small  steel  curb  chain.  The  joint  must,  of 
course,  be  cleaned  with  a  little  fine  emery  paper, 
and  if  each  part  will  not  lie  in  close  contact,  you 
will  have  to  use  iron  binding  wire,  a  coil  of 
which  should  always  be  kept  by,  "handy"  for 
use.  It  is  wire  prepared  on  purpose,  and  while 
admitting  of  freedom  in  twisting,  does  not  burn 
off  before  the  solder  has  run  into  the  joints. 
The  wire  must  be  bound  by  a  few  turns  round 
the  work,  to  keep  the  joints  in  their  place.  Next 
wet  the  surface  of  the  slate,  and  with  the  borax 
rub  up  a  little  wet  white  powder,  as  if  using  a 
block  of  water-colour  paint ;  very  little  will 
suffice.  Then  with  the  pencil  take  up  this  wet 
mixture,  and  neatly  "  paint  "  the  required  joint, 
taking  care  only  to  apply  it  where  the  joint  has 
to  be  made.  Lay  the  chain  across  the  wig, 
holding  the  latter  by  its  stem  in  the  left  hand. 
You  will,  of  course,  see  that  the  proposed  joint 
lies  on  the  wig  uppermost  and  conveniently  near 
its  edge.  Apply  the  pencil,  still  wet  with  the 
solution  of  borax,  to  one  of  the  small  bits  of 
solder  in  your  box,  and  lay  the  solder  over  the 
joint.  If  the  joint  is  not  a  neat  fit,  or  gaping, 
more  than  one  "  pallion  "  should  be  applied.  In 
using  the  gas  or  other  flame,  care  must  be  taken 
to  apply  gentle,  intermittent  jets  of  heat  to  the 
joint  at  first,  or  the  solder  will  fly  off  and  be 
lost.  Tou  will  remember,  also,  that  you  cannot 
apply  more  solder  to  the  hot  metal  of  the  work 
without  risk  of  singeing  and  destroying  your 
pencil ;  therefore,  place  enough  solder  on  the 
"job"  before  using  your  blow-pipe.  "When 
you  observe  the  borax  begins  to  run,  you  can, 


by  withdrawing  the  blow-pipe  a  little,   get   a 
broader  and  more  spreading  blast,   -which  will 
make  not  only  the  work  round  the  joint  red  hot, 
but  also  the  wires  of  the  wig;  thus  the  work  is 
properly  heated  in  a  hot  surrounding,  and  by 
finally  bringing  a  sharp-pointed  jet  to  bear  on 
the  solder,  it  will  usually  run  properly,  making 
a  hard  and  satisfactory  joint.     A  little  practice 
will  soon  show  where  the  heat  is,  and  it  can  be 
directed  to  any  given  spot — care  being  taken 
that,  in  soldering  a  ring,  for  instance,  one  side 
of  the  joint  is  not  heated  more  than  the  other, 
or  the  solder  will  simply  run  to  that  side,  and 
desert  the  other,  instead  of  making  a  union.    In 
practising  upon  a  steel  chain,  the  amateur  has 
the  great  advantage  of  not  spoiling  his  work  by 
accidentally  using  too  great  heat,  whereas  if  the 
work  was  a  brooch,  or  other  small  piece  of  silver, 
the  probability  is  he  would,  at  his  first  essay, 
either  melt  the  whole  affair,  or  unfasten  some 
other  joint.      The  art  is   to  heat   as   small  a- 
portion  of  the  work    as   possible  by   a   small 
"  sting  "  of  flame  on  to  the  spot  required.    This 
is  essential   in  making  those  brooches  of  the 
form,  for  instance,  of  a  crown  piece  surrounded 
with  silver  balls  at  equal  distances  round  the 
edge.     To   make   a    silver  brooch   of    sterling 
silver  it  is  necessary  to  purchase  sheet  silver 
about  the  strength  of  a  shilling ;  the  design,  say 
an  initial  letter  or  monogram,  is  drawn  neatly 
with  a  fine  pen  and  ink  on  thin  paper,  and  the 
latter   then   gummed   on  to   the   silver    sheet. 
When  dry  the  pattern  is  cut  out  with  a  fine  fret- 
saw, about  9   inches  long,  not  very  difficult  to 
use  ;  but  if  carefully  handled,  no  extra  filing  will 
be  necessary.     When  all  the  open  work  is  sawn 
out  (as  in  fret-cutting  in  wood),  the  hinge  and 
hook  for  the  pin  must  be  soldered  to  the  back  ; 
each  of  these  should  be  held  in  their  respective 
positions  by  binding  wire,  and  soldered  as  above 
directed.     The  pin  must  then  be  fastened  in  the 
hinge  and  neatly  bent,  so  as  to  spring  under 
the  hook.     The  brooch  should,  with  advantage, 
be  taken  to    an    engraver,   who   will   execute 
margin  lines   to  the  letters,  and  shading  lines 
to  the  initial  of   the  surname;  thus  producing 
better  effect.     The  silver  will,  however,  appear 
dull,  and  show  marks  of  fingering,  not  agree- 
able  to    lady   wearers.     We    must,    therefore, 


AMATEUR  JEWELLERY  MANIPULATION  AND  REPAIRS. 


115 


polish,  it.  If  you  have  a  lathe  you  use  a  circular 
scratch  brush,  protected  by  a  tin  or  sheet  brass 
screen  ;  but  if  not,  you  must  procure  a  narrow 
scratch  brush,  say  6  to  9  inches  long.  With 
a  saucer  of  beer  by  you,  dip  this  brush  into  the 
beer,  and  vigorously  brush  the  silver  on  both 
sides,  in  varying  directions  ;  one  or  two  minutes 
of  this  treatment  will  produce  a  very  pleasing 
polish,  which  will  show  better  if  the  article 
treated  is  dipped  into  clean  water,  and  allowed 
to  dry.  It  is  obvious  that  the  rotatory  scratch 
brush,  alluded  to  above,  driven  in  the  lathe, 
or  by  a  wheel  and  treadle  of  its  own,  will  polish 
the  work  more  readily.  It  is,  however,  not  an 
indispensable  adjunct  to  your  tools,  and  for 
occasional  silver  work  the  hand  brush  is  quite 
sufficient.  The  rotatory  one  also  is  very 
messy,  and  requires,  as  already  explained,  a 
sheet,  or  "  splash  board,"  to  prevent  the  beer 
flying  all  over  the  operator.  The  operator 
should  bear  in  mind  that  all  jewellery  work 
deteriorates,  through  not  only  ordinary  handling 
in  wear,  but  by  the  action  of  the  atmosphere, 
and  the  glossy  surface  imparted  by  the  brass 
wire  bristles  of  the  scratch  brush  soon  becomes 
dull  and  "second-hand"  looking.  He  will 
observe  that  all  polished  articles  of  silver,  etc., 
are  kept  by  the  silversmith  in  air-tight  cases, 
either  on  the  counter  or  in  the  shop  window. 
Extremely  pleasing  brooches  and  solitaire  links 
have  been  made  by  the  writer  out  of  old  silver 
coins ;  the  former  being  of  necessity  constructed 
out  of  a  coin  not  smaller  than  a  modern  florin, 
whilst  the  links  required  coins  of  about  the  size  of 
a  shilling  or  sixpence.  In  this  case  sheet  silver, 
as  above  recommended,  was  employed ;  its 
ductility  permitting  a  small  piece  to  be  rolled 
into  the  stem  of  the  solitaire.  The  end  opposite 
to  the  coin  is  best  made  of  a  crescent  form,  as 
easier  to  enter  the  cuff  button-hole.  This  cres- 
cent, its  stem,  and  the  coin,  are  bound  together 
with  the  wire,  and  soldered,  the  old  coin  being, 
of  course,  previously  cleaned.  If  a  large  heavy 
coin  is  chosen  for  the  brooch  of  the  size,  say,  of 
a  modern  "  crown  piece,"  it  will  be  found,  in 
soldering  the  hinge  and  hook  at  the  back  for  the 
usual  pin,  that  the  jeweller's  wig  is  not  a 
sufficient  source  of  heat.  The  work  must  be  at 
a   good   heat,  as  well   as    the   attachments,  or 


the  solder  will  not  "run  "  to  a  proper  joint.  We 
shall,   therefore,   require   a  piece   of   charcoal. 
This   is  sold  at  the  dealers,   bedded  in  plaster 
of  Paris,  and  the  blow-pipe  jet,  on  striking  the 
coin  near  its  edge,  will,  if  allowed  to  partially 
pass  underneath,  create  a  red  heat  in  the  char- 
coal, and  thus  produce    a  miniature   furnace ; 
in  fact,  it  will   do  more — more   perhaps   than 
bargained  for,  as  in  the  event  of  the  old   coin 
sold  as  "real  solid  silver"  being  tin  or  some 
inferior  metal,  the  whole   affair   will   ignomi- 
niously  collapse  under  heat  which  nothing  but 
solid  silver  will  withstand.  The  amateur  worker 
is,     however,     advised    not     to     attempt     too 
"heavy"  or  large  pieces  of  soldering  at  first. 
The    smaller   ones   are    far    the  easiest,  as   he 
has,  with  the  wig,  as  much  heat  as  he  can  be 
trusted   with,  whilst   he   knows  that  any  acci- 
dental  destruction  of  his  joint,  by  too   much 
"blowing,"  will    not   be  a   serious    pecuniary 
loss.     Nothing  has  been  suggested  of  working 
in  gold,  on  account  of   its  costliness,  not  only 
in  the    preliminary   outlays,   but    in   the    loss 
through  imperfect  or  destroyed  materials.      It 
is,    however,    quite    easy   for  the    amateur   to 
take  up  imitation  gold.      This  is  best  done  in 
what  is  technically  known  as  "  gilding  metal," 
an  alloy  of   a  dark    brass   shade,  and    sold  in 
convenient  sheets    at  a  small  cost.      It  can  be 
sawn,  as    already  directed,  into  claws,  etc.,  to 
hold  precious   stones  and    gems,  soldered  with 
silver  solder,  and  finally  coloured  by  the  trade 
at   a    trifling    cost   with    real    gilding,  exactly 
the    shade    of    18  carat    gold.      The  effect — as 
long,  of  course,  as    it  lasts — is  very  good,  but 
the  "finish"  of  the  "gilding  metal"  must  be 
neat  and  regular,   as  every  blemish  will  come 
into  prominent  relief  when  finally  electro  gilt. 
The  tools,  as  well  as  the  sheet  silver,  etc.,  can 
be    procured  from  Messrs.   E.  Gray  and  Son, 
Jeweller's  Material  Dealers,  Clerkenwell  Green, 
E.C.     They  also  sell  the  usual  hinges,  hooks, 
and  pins  for  brooches,  a  small  stock  of  which  it 
is  desirable  an  amateur  should  hold,  as  his  lady 
friends  will  soon  keep  him  in  practice  repairing 
brooch   pins,  especially  when  those  articles  of 
adornment  are  forced  into  stiff  stand-up  "male  " 
collars. 

A    pleasing   variety   in   mourning    jewellery 


116 


A    SIMPLE  METHOD    OF  BAYONET-JOINTING  A   LENS. 


can  be  attempted   "by  the  amateur  in  Whitby 
jet.      Brooches  are   made   of   a   plain-polished 
arched  surface,    like  the  one  side   of  a  locket, 
or  half   a   pigeon's    egg,    in   longitudinal   sec- 
tion.     A  hollow    can   be    cut   into  the    centre 
of   the   brooch   with   a    moderately   stout,    but 
sharp,    pocket-knife,    to    receive    a    Brazilian 
beetle.     This  must  be  fastened  in  by  placing 
shellac  in  the  hollow,  and  carefully  melting  it 
with  a  long  knitting-needle,  or  stout  wire,  held 
about  the  middle  of   its   length  in  a  gas   jet. 
When  the  lac  is  melted,  the  beetle  is  firmly  and 
gently  pressed  into  its   place.     Care   must,  of 
course,  be  taken  that  the   above  hollow  is  not 
too  large,  so  that  no  cement  is  allowed  to  appear 
when  finished.     The  beetles  can  be  purchased 
at  about   3d.  each  from  the  foreign  naturalists. 
They  look  well  mounted  in  a  small  silver  frame 
for  a  scarf  pin.     This   class  of  work   is   more 
pleasing   if   the   mount   is  "beaded,"  being  a 
series  of  very  small  grains  of  silver  fastened  in 
succession  to  each  other.     It  is  readily  soldered, 
and  little  claws  can  be  attached  to  the  back  to 
hold  the  insect  in  its  place ;  these  claws   being 
bent  into  their  ultimate  position  after  the  beetle 
is  put  in.     If  the  amateur  wishes  to  repair  a  jet 
brooch  by  attaching  either  the  hinge  or  hook, 
he  must  fill  the  hole  at  the  back  with  shellac, 
heat  the  hinge  or  hook,    and  press  it  into  its 
place.     A   special   make   of  these,    with   small 
rivets  at   the   back,    can   be   procured   for  jet 
jewellery.    The  writer  has  had  much  experience 
in   this  class   of    work,    duly   appreciated  in  a 
flattering  manner  by  various  lady  friends  ;  and 
hopes  these  hints  may  prove  of  value  to  brother 
amateurs,  inducing  them  to    persevere  even  to 
turning   out  cameo  brooches  of   much  beauty. 
The  "  Council  Column  "  will,  through  the  kind 
assistance   of   the   Editor,  enable   any  dubious 
points   to  be  satisfactorily  cleared  up,  and,  as 
before  stated,  wherein  the  writer  may  himself 
be  corrected  and  advised  where  necessary. 


Wood  Working. — To  prove  that  the  circles 
or  sap  rings  cause  curling  during  the  seasoning 
process,  it  is  only  necessary  to  take  such  curled 
boards  and  wet  the  concave  side,  or  apply  heat 
to  the  convex  side,  and  the  boards  will  straighten 
out  forthwith. —  Woodworker. 


A  SIMPLE  METHOD  OF  BAYONET- 
JOINTING  A  LENS. 

By  ED.  C.  ROE,  Jun.,  Silver  Medalist,  City  and  Guilds  of 
London  Institute, 

EOBABLY  there  is  nothing  more 
irritating  to  a  photographer  when 
wishing  to  photograph  an  effect 
which  possibly  may  be  only  of  a  fleeting  or 
changeable  character,  than  to  encounter  difficulty 
in  getting  the  thread  on  lens  mount  to  take 
that  on  the  collar.  To  obviate  this  nuisance, 
many   lenses   are   now  made  provided   with  a 

F  IG 


'Safe  edge 

bayonet  joint,  but  to  those  possessing  lenses 
mounted  and  screwed  in  the  ordinary  way  this 
fact  will  not  avail  them  much,  and  it  is  to  such 
persons  I  would  address  the  following  lines. 

Now,  an  expected  argument  is  this  :  why  run 
the  risk  of  ruining  a  good  lens  mount  in  the 
attempt  to  perform  an  operation  which  must  of 
necessity  be  somewhat  complicated,  and  there- 
fore unsuitable  for  performance  by  an  amateur  ? 
If  the  method  proposed  to  be  discussed  was  the 
same  as  that  known  generally  as  a  bayonet 
joint,  I  should,  perforce,  be  compelled  to  bend  to 
the  force  of  the  argument ;  but — and  perhaps  I 
had  better  here  confess  to  the  title  used  being 
somewhat  a  misnomer,  and  seek  excuse  in  the 
fact  that  I  have  used  it  in  the  absence  of  a 
better  term,  and  also  because  of  the  similarity 
of  manipulation  and  use — the  method  I  shall 
describe  is  so  simple  and  inexpensive  that  the 
veriest  tyro  need  not  hesitate  to  undertake  the 
work. 

But  what  about  tools?  Well,  they  are 
certainly  not  a  very  important  item,  the 
necessary  stock  consisting  of  a  4-inch  flat  fine 
cut  file  provided  with  one  safe  edge.  (What 
is  to  be  understood  by  safe  edge  will  be  apparent 
upon  reference  to  Fig.  1.) 


A   SIMPLE  METHOD    OF  BAYONET-JOINTING  A    IENS. 


117 


Before  proceeding  further,  let  me  say,  to 
prevent  possible  disappointment,  that  a  few 
lenses,  notably  the  view  lenses  issued  by 
Lancaster,  are  incapable  of  treatment  by  this 
method,  for  reasons  which  will  be  very  apparent 
as  we  proceed  ;  but  as  the  majority  of  workers 
now  are  the  happy  possessors  of  one  of  that 

FIG    2. 


almost  universal  variety  of  lens,  the  "  Rapid 
Rectilinear,"  which  is  invariably  made  with 
milled  collar,  such  as  will  be  adapted  to  our 
purpose,  I  think  it  will  be  safe  to  conclude 
that  the  persons  unable  to  take  advantage  of 
this  method  will  be  few  and  far  between. 

The  first  thing  to  do  is  to  remove  the  flange 
from  the  camera  front,  and  unscrew  the  lens 
from  the  mount,  wrapping  the  lens  up  carefully, 
and  placing  away  to  avoid  danger  of  scratching. 
Taking  the  flange,  and  looking  at  the  back,  it 
will  somewhat  resemble  in  outline  Fig.  2.  The 
outer  circle,  of  which  a  represents  the  outer 
diameter ;  the  second  circle,  I,  indicates  the 
outer  diameter  of  rim ;  and  the  third  circle,  c,  the 
inner  diameter  of  flange.  It  will  be  observed 
that  the  diagram  is  divided  into  four  parts, 
which  it  will  be  convenient  to  number  1 ,  2,  3, 
and  4  respectively,  for  convenience  in  reference. 


With  the  file  we  require  to  remove  the  whole 
of  the  thread  laying  within  section  one,  and 
likewise  section  three,  leaving  the  portions  in 
sections  two  and  four  intact.  The  portion 
removed  should  die  away  to  nothing,  or,  in  other 
words,  at  the  ends  of  each  section  we  gradually 
lessen  the  amount  removed  until  we  come  to  the 
top  of  the  thread.  Having  finished  with  the 
flange,  we  must  take  the  lens  mount,  and 
remove  from  it  exactly  the  same  amount  of 
thread  that  was  left  on  the  flange.  It  will  now 
be  quite  apparent  that  if  the  mount  be  placed 
on  the  flange,  it  will  drop  until  the  milled  rim 
prevents  further  progress ;  this  having  been 
effected,  a  slight  turn  will  cause  the  threads  to 
bite,  and  the  mount  will  be  held  sufficiently  firm 
for  all  purposes ;  at  least,  I  have  always  found 
such  to  be  the  case,  never  having,  during  an 
experience  of  over  three  years,  had  the  slightest 
accident  arising  from  the  lens  shifting. 

It  will  be  well  for  future  convenience  to  make 
permanent  marks,  one  on  mount,  and  one  on 
flange,  to  indicate  the  exact  position  in  which 
the  mount  requires  to  be  held  to  drop  into 
position.  A  centre  punch  will  make  the 
necessary  mark. 

It  has  taken  twice  the  time  to  write  this  than 
it  would  to  execute  the  work  ;  but  even  were  the 
job  to  take  three  or  four  times  as  long  to  do, 
the  result  will,  I  feel  sure,  be  considered  to 
amply  repay  the  time  and  trouble  expended. 
This  will  doubtless  be  considered  a  lengthy 
paper  to  deal  with  such  a  short  matter ;  but  even 
should  I  be  the  recipient  of  much  "blame,  I 
should  still  believe  that  by  adopting  the  simple 
method  described,  many  unkind  thoughts  would 
be  averted,  and  much  of  that  inestimable  com- 
modity, patience  preserved. 


A  new  paint  brush  should  be  "bridled." 
This  is  done  by  covering  it  with  a  piece  of 
leather,  extending  from  the  heel  to  about  the 
middle  of  the  bristles,  and  stitched  together, 
drawing  the  leather  tight  enough.  By  this 
means,  a  new  brush  may  be  put  into  immediate 
use  on  rough  coatings.  When  the  end  is  worn 
down,  cut  away  the  leather,  and  the  brush  will 
preserve  its  shape. — Arts  and  Grafts. 


118 


TWO  PHOTO  FRAMES. 


TWO    PHOTO  FRAMES. 

By  SEMPER  F1DELIS. 


( For  Illustrations  see  Folding  Sheet  presented  with  this  part. ) 

y5**5^  HE  accompanying  designs  are  for 
f  Hols  photograph  frames — one  to  take  two 
Sjjgllll  large-sized  pictures,  or  two  cabinets 
with  cut-out  mounts,  and  the  other  to  take  three 
pictures  of  different  sizes,  viz.,  a  carte  de  visite, 
a  cabinet,  and  an  imperial.  The  effect  of  these 
frames  is  very  pleasing  when  standing  on  the 
piano  or  the  mantelshelf,  or  among  the  bric-a- 
brac  on  the  table.  They  completely  eclipse  all 
smaller  affairs  of  metal,  glass,  etc,  and  are  a 
delightful  change  from  the  everlasting  plush 
one-over-the-other  affairs  that  are  now  to  be 
seen  almost  everywhere. 

Enamelled  small  ornaments  are  having  such 
an  innings  that  it  makes  it  comparatively  easy 
for  all  amateurs  to  "  have  a  shy,"  the  paint 
covering  a  multitude  of  sins ;  but  I  hope  that 
any  reader  who  essays  to  make  the  frames  from 
these  designs,  will  do  me  the  honour  of  trying 
his  best.  Whenever  I  am  allowed  by  our  kind 
Editor  to  "rush  into  print,"  I  generally  indite 
such  smaller  affairs  as  I  know  are  within  the 
range  and  ability  of  most  men  worthy  the  name 
of  "  amateur  workers,"  and  I  have  no  patience 
■with  workmen  who  do  the  work  anyhow,  and 
cover  up  mistakes  with  putty  and  paint. 

These  frames,  then  (although  they  may  be 
enamelled,  of  course),  are  intended  to  be  stained 
to  imitate  walnut,  by  those  who  are  not  desirous 
of  investing  in  the  more  expensive  wood.  They 
are  made  of  beech,  and  the  wood  must  be  well 
seasoned,  or  it  will  cast  and  warp ;  it  is  just  the 
sort  of  wood  for  amateurs  who  are  beginning 
little  jobs  on  their  own  account,  as,  being  tough, 
they  are  not  likely  so  quickly  to  cut  away  too 
much  of  the  wood. 

The  first  thing  is  to  get  the  wood.  If  possible, 
get  this  at  a  coachmaker's  or  a  cabinetmaker's 
who  has  had  it  in  stock  for  some  time  ;  you  will 
then  be  sure  of  having  it  seasoned.  Get  the 
wood  cut  into  lengths  £  inch  square  in  section, 
and  you  can  cut  off  the  pieces  to  the  various 
lengths  you  require  as  you  proceed.  You  will 
require  for  the  sides  of  the  double  frame  four 


pieces  14 \  inches  long,  f  inch  square  when 
planed ;  for  the  cross  bars  two  pieces  f  inch 
square,  and  four  pieces  §  inch  by  f  inch.  These 
are  each  to  be  exactly  7-|  inches  long,  and 
allowing  J  inch  at  each  end  for  the  tenon  ;  they 
will  then  be  6i  inches  in  the  clear,  which  is  the 
width  of  the  frame  inside  the  sides. 

When  all  these  pieces  are  squared  up,  take 
the  uprights,  mark  centres  on  the  ends,  and  turn 
the  heads  and  feet  on  the  solid.  When  these  are 
done,  the  places  are  marked  on  them  for  the 
small  mortise  joints,  which,  although  not 
required  to  be  very  strong,  must  be  accurately 
fitted. 

Proceed  now  to  make  the  mortise  and  tenon 
joints;  they  will  be  placed  in  such  a  position  as 
to  allow  the  length  of  the  glass  to  be  &h  inches. 
There  is  a  wrinkle  in  having  the  length  of  the 
glass  8i  inches,  and  the  breadth  6£  inches ;  in 
fact,  two  wrinkles — one  is  that  the  frame  may 
be  used  as  a  whole  plate  printing  frame  in  an 
emergency,  and  the  other  is  that  old  negatives 
come  in  handy  to  glaze  and  reglaze  them  when 
necessary. 

The  tenons  being  only  \  inch  deep,  the 
mortise  will  not  go  through  the  sides  ■;  \  inch 
will  do  nicely  for  the  joint.  Be  careful,  when 
marking,  to  mark  from  the  face  of  the  work 
in  each  case,  so  that  the  edges  will  be  exactly 
flush. 

When  these  sides  and  cross  bars  are  fitted,  the 
next  thing  is  to  form  the  rebate  to  keep  in  the 
glass,  which  is  made  of  strips  of  wood,  and 
glued  and  tacked  into  position.  The  quickest 
way  of  making  them  is  as  follows  : — Plane  down 
a  strip  of  board  on  both  sides  to  the  thickness 
required,  about  |  inch  ;  then  plane  the  edge,  and 
cut  off,  with  a  tenon  saw,  as  much  in  width  as 
you  require — about  A  inch.  Cut  clear  of  the 
pencil  mark,  and  plane  up  the  remaining  side, 
making  the  strip  f  inch  by  ik  inch  exactly.  Now 
round  one  edge  like  a  bead,  and  mitre  the 
corners  to  fit  into  frame.  These  will  be  the 
same  size  as  the  opening ;  and  in  fitting 
them  it  is  better  to  cut  them  at  first  a  little 
longer,  and  keep  cutting  a  little  at  a  time  until 
they  fit. 

Now  we  have  only  the  spindles  to  turn  and 
insert  in  their  places.     Be  careful,  when  boring 


PRACTICAL    ORGAN  BUILDING. 


119 


the  holes  to  take  the  lugs  of  the  spindles,  that 
you  have  them,  exactly  over  one  another. 

Glue  all  up,  and  finish  off  with  sandpaper, 
stain  with  burnt  umber  and  water,  and  give  two 
■coats  of  spirit  varnish.  The  backs  are  to  be 
made  of  J-inch  boarding,  planed  and  chamfered 
down,  and  held  with  sprigs,  with  a  piece  of 
brown  paper  pasted  over  the  joints  to  keep  out 
the  dust.  Of  course,  if  the  frames  are  used  as 
printing  frames,  the  backs  will  have  to  be 
hinged  and  have  springs.  A  pair  of  brass 
lunges  are  used  to  join  the  frames.  This 
■disposes  of  the  double  frame. 

The  treble  frame  is  rather  more  troublesome, 
and  requires  more  care  in  the  marking  out. 
There  is  no  difference  in  the  jointing  up,  or  in 
the  rebating  and  backing.  The  sizes  are  made 
for  the  sake  of  economy,  as  the  last ;  10  by  8, 
8£  by  6i,  6J  by  4|  inches  being  the  sizes  of 
imperial,  whole  plate,  and  half  plate  respec- 
tively. They  may,  of  course,  be  also  used  as 
printing  frames  for  their  various  sizes.  A  novel 
feature  in  this  frame  is  the  steps  of  carved  or 
fretted  wood  for  the  corners.  This  frame  may 
be  enamelled  with  the  fretwork  corners  (my 
taste  would  be  moss  green) ;  but  if  carved  pieces 
are  used,  they  should  be  left  in  the  natural  wood, 
or  stained  and  varnished.  The  hinges  should  be 
small  screen  hinges,  to  be  had  very  cheaply  at 
-Melhuish's,  who  advertises  in  Amateur  Work. 


PRACTICAL  ORGAN  BUILDING. 

By  "  ORGAN  BXTILDER." 

III. — The  Bellows. 
\  HIS  item  of  organ  construction  is  one 
of  the  most  vital  parts ;  indeed,  it 
really  constitutes  the  lungs  for  the  in- 
strument— where  the  air  is  collected  and  forced 
upwards  (in  a  manner  that  will  be  better 
understood  later  on)  through  the  soundboards, 
whence  it  passes  into  the  pipes ;  and  when  these 
have  been  served  with  their  proper  supply,  the 
wind  assimilates  itself  with  the  air  of  the  place 
in  which  the  organ  is  erected,  and  is  ready  for 
use  again.  The  greatest  possible  care  must  be 
used  in  constructing  the  bellows.     All  strips  of 


leather  must  hold  quite  close  to  the  wood,  and 
all  joints  must  be  strictly  close.  If  these  two 
instructions  are  not  accurately  adhered  to,  the 
wind  that  should  be  passing  into  the  upper 
chambers  of  the  organ  will  be  wasted.  The 
success  of  an  organ  in  no  small  way  depends  on 
the  bellows.  In  larger  instruments,  if  the 
bellows  is  not  properly  made,  or  the  capacity 
insufficient,  the  organ  will  not  give  forth  its 
required  volume  of  tone ;  and  the  look  of  despair 
and  vexation  on  the  face  of  both  amateur  and 
professional  builder  alike,  when  he  finds  his 
work  is  spoiled  by  the  supply  of  wind  being  in- 
adequate, must  be  seen  to  be  realised. 

In  our  organ  we  shall  use  the  type  of  bellows 
technically  known  as  the  horizontal  bellows.  As 
aforesaid,  best  pine  will  be  used  throughout. 
The  middle  board  and  top  may  be  formed  by 
glueing  boards  edgeways  to  make  up  the 
required  width.  Another  way,  and  by  far  the 
better  of  the  two,  is  to  make  two  frames,  like 
an  ordinary  four-panelled  door,  and  fill  in  the 
interstices  by  movable  panels,  screwed  down. 
By  making  these  pieces  in  this  manner,  if  any- 
thing should  get  wrong  with  the  pallets  in  the 
middle  board,  all  that  has  to  be  done  is  to 
remove  the  panels  of  the  top,  and  the  middle 
board  is  laid  open  to  view.  Again,  if  there  is  a 
leakage  in  either  of  the  feeders,  or  if  the  pallets 
are  amiss  there,  the  top  and  middle  panels 
are  unscrewed  with  very  little  trouble,  and  a 
patch  is  put  on  inside  to  stop  the  escape  of 
wind,  or  a  new  pallet  adjusted,  as  the  case  may 
require  ;  whereas,  if  the  top  and  middle  boards 
are  glued  together,  and  some  trifling  thing  gets 
wrong  underneath  in  the  feeder,  a  large  hole 
has  to  be  cut  through  both  the  boards  to 
ascertain  what  is  wrong,  as  there  is  no  possibility 
of  finding  out  from  the  bottom. 

The  first  thing  to  be  made,  then,  is  a  frame  for 
the  middle  board.  This  will  be  l£  inches  thick, 
5  feet  |  inches  long,  by  2  feet  5£  inches  wide, 
finished  dimensions,  with  a  rail  5  inches  wide 
mortised  exactly  in  the  centre  from  front  to 
back.  The  other  rails  will  be  5  inches  wide 
also.  When  finished,  take  care  that  this  frame 
is  square  and  parallel.  The  top  will  be 
the  same  width  and  thickness  as  the  middle 
board,  and  will  have  a  similar  rail  across  the 


120 


PRACTICAL    ORGAN  BUILDING. 


centre,  but  it  will  only  be  4  feet  10J  inches  long. 
The  middle  board  is  made  longer  than  the  top, 
so  as  to  form  a  ridge  at  each  end,  through 
which  two  screws  may  be  passed  into  the  inch 
pieces  fastened  to  rails  in  c  c,  Fig.  5,  on  which 
pieces  the  bellows  will  rest,  and  to  which  it  will 
be  fixed. 

The  middle  frame  is  simply  like  a  slate  frame 
of  inch  stuff, with  rails  4J  inches  wide,  mortised 
at  the  corners, 
exactly  the  same 
size  as  the  top. 
When  squaring 
this  up,  fasten 
it  to  the  top  with 
a  couple  of 
hand  -  screws, 
and  plane  the 
two  together. 
This  frame  is 
put  into  the 
bellows  simply 
to  hold  the 
various  pairs  of 
ribs  in  their 
proper  positions, 
and  to  prevent 
the  folds  of  the 
reservoir  from 
bulging  out- 
wards, which 
they  would  be 
sure  to  do  from 
the  force  of  the 
weights  that  are 
placed  on  the  top 
to  separate  them. 

The  bottom  boards  for  the  feeders,  will  be 
formed  by  glueing  1^  inch  boards  together  edge- 
ways, until  the  piece  comes  to  2  feet  b\  inches 
long,  by  2  feet  3-f  inches  wide.  A  good  rubbed 
joint  is  far  better  for  these  than  though  it  were 
ploughed  and  tongued.  On  the  bottom  sides  of 
each  of  these  two  slabs  screw  two  battens, 
running  transversely  on  the  feeders.  Each 
batten  will  be  2  feet  3  J  inches  long,  3 J  inches 
wide,  and  1  \  inches  thick.  The  front  ones  will 
be  fixed  1  inch  from  the  front  end,  and  the  others 
will  be  \  of  an  inch  from  the  back.  For  the  sake 


if  there  were  no  such  frame 


of  appearance,  the  inside  edges  and  the  ends- 
may  be  bevelled  down  to  \  inch  from  the  edge 
and  the  side  facing  the  feeder.  Before  fixing 
the  front  ones  down  for  good,  on  the  side  that 
will  go  nearest  the  feeder,  cut  out  of  the  middle- 
of  the  batten  (that  is,  from  end  to  end)  enough 
wood  to  leave  a  space  3  inches  long,  2  inches- 
wide,  and  §  inch  deep.  Into  this  groove  the 
end  of  the  feeder  stud  (Fig.  25)  will  fit,  and  a 

couple  of  2 \  inch 

5  Mir  i in  .1 ft  Ml         l 

screws  will  be- 
passed  through 
the  batten  and 
stud  into  the 
feeder  to  hold 
the  stud  quite 
firmly.  When 
the  top  sides  of 
the  feeders  have 
been  planed 
quite  straight 
from  side  to  side,' 
and  from  end  to 
end,  glue  and 
brad  a  piece  of 
stuff  across  the 
back  end,  2 
inches  wide,  f 
inch  bare  thick 
on  the  outside 
edge,  \  inch  on 
the  other,  and  2 
feet  3|  inches 
long.  When  this 
is  dry,  plane  the 
end  of  the  feeder  awajr  on  the  bevel  to  meet  the 
feeder  batten  on  the  bottom  side.  If  this  were 
not  done,  every  time  the  feeder  dropped,  the  back 
end,  which  now  amounts  to  3J  inches  in  thick- 
ness, would  project  outwards,  and  would  come 
in  contact  with  the  front  bottom  rail  of  the 
organ  frame,  which  would  not  be  altogether 
desirable.  On  the  under  side  of  the  middle 
board  fix  two  pieces  of  wood,  similar  to  those 
just  described,  so  that  they  come  flush  at  the 
back,  and  1  -J-  inches  from  each  end.  This  will 
leave  a  gap  3  inches  wide  in  the  middle. 

The  linings,  as  they  are  called,  are  the  next 
to  be  made.     They   consist  of   pieces    of  inch 


PRACTICAL   ORGAN  BUILDING. 


121 


stuff  o\  inches  wide,  mitred  or  dovetailed  at 
the  comers  (the  latter  is  the  better  way),  glued 
and  screwed,  edgeways,  firmly  to  the  top  side  of 
the  middle  board.  The  screws  that  fasten  these 
pieces  down  will  be  put  in  from  the  bottom 
side  of  the  middle  board.     In  one  end  (either 


Now  prepare  the  ribs.  These  will  form  the 
folds  for  the  bellows.  Figs.  6,  7,  8,  and  9 
represent  the  differently  shaped  pieces  of  wood 
for  the  ribs  of  the  reservoir  and  feeders.  Fig.  6 
is  a  pair  of  parallel  inverted  ribs  ;  Figs.  6  and  9 
are  direct  and  parallel,  and  Fig.  8  is  a  pair  of 


riG  is  ?-if«>«t 


end  will  do)  cut  a  hole  8  inches  long,  by  2 
inches  wide,  at  3  inches  from  the  outside  of 
the  back.  Through  this  aperture  the  air  will 
pass  from  the  reservoir  through  the  wind 
trunk,  for  distribution  in  the  soundboard.  The 
end  that  has  the  hole  cut  in  it  must  now  be 
the  bass  end  of  the  bellows,  that  is,  the  left- 
hand  end  as  you  face  it  when  in  its  proper 
position.  "When  speaking  about  the  front  of 
the  bellows,  I  mean  the  place  where  the 
feeders  open  the  widest ;  but  really  this  place 
is  at  the  back  of  the  organ.  When  the  linings 
are  all  fastened  down  they  should  form  a 
shallow  trough,  exactly  the  same  size  as  the 
middle  frame  and  top,  and  Z\  inches  deep. 


r 


3*3 


Z^ 


what  are  called  triangular  ribs.  Altogether 
in  the  bellows  we  shall  use  14  pairs  of  these 
ribs.  Six  pairs  of  these  will  go  to  form  the 
feeder,  and  will  be  made  of  ^-inch  stuff; 
while  the  remainder  will  be  utilised  by  the 
reservoir,  and  will  be  f  inch  thick.  The  four 
pairs  for  the  top  folds  of  the  bellows  will  be  the 
inverted  rib ;  that  is,  they  will  be  hinged    in 

vol.  in.  (n.3.) — L 


122 


PRACTICAL    ORGAN  BUILDING. 


the  middle  at  the  longer  edges,  and  fastened  to 
the  top  and  middle  frame  some  distance  from  the 
outside.  The  front  and  back  pairs  will  be  4  feet 
7f  inches  long  at  the  longest  points,  and  will 
have  a  bevel  cut  on  each  end  at  an  angle  of 
55  degrees,  so  that  on  the  shorter  edges  the 
length  will  only  be  4  feet  ?>\  inches.  The  short 
pairs  for  the  ends  will  be  2  feet  2 \  inches  on  the 
long  edge,  and  1  foot  9j  inches  on  the  other. 
This  will  make  the  same  bevel  at  the  ends  as  on 
the  corresponding  long  ones  for  the  top  series. 
All  the  ribs  for  the  reservoir  will  finish  3J  inches 
wide.  Fig.  6  represents  a  pair  of  the  end  ribs 
laid  flat,  with  a  strip  of  leather  glued  down  the 
middle.  In  the  bottom  series  the  direct  rib  will 
be  used.  The  front  and  back  pairs  will  measure 
4  feet  1  If  inches  at  the  longest  points,  and  will 
be  bevelled  at  each  end  at  an  angle  of  41  degrees, 
so  that  on  the  short  edges  will  be  4  feet  4  inches 
long.  The  pairs  for  the  ends  will  be  2  feet  2| 
inches  and  1  foot  8|  inches  long  on  each  of  their 
respective  edges,  the  bevel  being  the  same  as 
the  front  and  back  couples.  Pig.  7  is  a  pair  of 
the  bottom  end  ribs.  The  triangular  ribs,  as 
seen  in  Fig.  8,  are  only  used  in  the  formation  of 
the  feeder.  Each  rib,  and  there  will  be  eight 
separate  ones,  will  be  2  feet  2|  inches  long,  5 J 
inches  wide  at  the  widest  part,  and  J  inch  wide 
at  the  narrow  end.  The  front  end  will  be 
bevelled  at  an  angle  of  41  degrees,  the  same  as 
the  bottom  series  of  the  reservoir  ribs.  We  now 
come  to  the  last  two  pairs  for  the  fronts  of  the 
feeders.  These  will  be  5J  inches  wide  and 
parallel,  2  feet  2|  inches  long  on  the  longest 
edges,  and  1  foot  2f  inches  on  the  opposite  edge, 
thus  making  the  bevel  on  each  end  to  correspond 
with  that  of  the  end  pairs.  "When  paired,  they 
should  show  like  Fig.  9. 

Plane  all  the  pieces  up  and  fasten  them 
together  in  fours,  either  with  handscrews  or  a 
fine  brad.  Work  the  bevel  on  each  end  before 
separating  them.  Of  course  the  four  long  top 
ones  and  the  same  number  of  end  top  ones  will 
be  done  at  once,  and  the  bottom  ones  in  like 
manner.  Bevel  or  round  each  piece  for  |  inch 
up  the  rib  to  ^  inch  on  the  edge.  The  rounding 
is  the  better  way,  and  the  number  14  hollow 
will  now  be  used.  The  long  edges  of  all  the 
ribs  will  be  rounded  outside,  and  the  short  ones 


inside.  With  a  fine  smoothing  plane  take  off 
the  sharp  corner  of  the  ^  inch  that  is  left,  and 
also  the  outside  side  of  the  rib  where  the  bevel 
is  made.  Cover  the  inside  side  of  each  rib  with 
a  coating  of  thin  size,  put  on  scalding  hot. 
Before  sizing  wet  the  outside  with  clean  water, 
which  will  counteract  the  action  of  the  size, 
and  prevent  the  wood  from  casting. 

Before  going  any  further,  glue  up  the  panels 
for  the  top  and  middle  board.  They  will  be 
made  of  inch  stuff,  and  an  inch  larger  all  the 
way  round  than  the  hole  they  have  to  cover, 
so  that  the  top  ones  will  measure  1  foot  llf 
inches  long,  by  1  foot  9J  wide,  and  the  panels 
for  the  middle  should  finish  2  feet  J  inches 
long,  by  1  foot  9£  inches  wide. 

Having  now  prepared  all  the  principal  com- 
ponent parts,  we  will  proceed  to  put  some  of 
them  together.  The  first  thing  to  be  done  is 
to  pair  all  the  ribs,  fix  them  on  to  some 
boards,  the  right  edges  (these  are  the  edges 
not  rounded,  uppermost)  close  to  one  another, 
with  a  few  brads  driven  into  the  board  through 
the  outside  rounded  edge,  and  glue  a  strip  of 
white  strained  or  calendered  sheepskin  leather 
(the  latter  is  the  better,  being  more  easily 
laid),  1J  inches  wide,  down  the  middle,  so 
that  £  inch  will  go  on  each  rib.  Fig.  10  is 
a  section  of  a  pair  of  ribs  with  the  strip  on. 
In  bradding  down  on  to  the  board,  leave  a  good 
length  projecting,  so  as  to  have  something  to 
catch  hold  of  when  the  time  comes  for  their 
being  drawn  out.  When  all  the  pairs  have  the 
one  strip  on,  and  that  is  dry,  draw  the  brads, 
and  carefully  fold  the  ribs  together.  Then  glue 
another  strip  on  the  inside  rounded  edges  of 
similar  leather,  and  If  inches  wide.  When  each 
pair  is  folded,  it  will  be  noticed  that  a  gap,  the 
width  of  two  thicknesses  of  leather,  is  formed. 
In  putting  on  the  wide  strip  it  must  be  well 
rubbed  lengthways  down  the  centre,  so  that 
the  outside  and  inside  strips  will  meet,  and  keep 
the  ribs  apart ;  thus  forming  a  strong  hinge  on 
which  the  wood  will  work  quietly. 

The  instrument  best  adapted  for  rubbing  the 
leather  down  is  easily  made  out  of  a  piece  of 
£-ineh  oak  or  mahogany,  shaped  like  Fig.  11 ; 
a  is  a  section  of  the  same.  This  is  what  is 
generally  called  a  leather  stick.   Another  way  is 


PRACTICAL    ORGAN  BUILDING. 


123 


to  get  a  piece  of  J-inch  mahogany,  make  a  saw 
kerf  in  one  end,  and  insert  an  old  key  ivory  in 
the  kerf.  The  ivory  must  be  made  a  trifle 
round  in  the  middle  from  end  to  end. 

Here  are  a  few  hints  to  which  particular 
attention  should  be  paid.  The  glue  should  not 
be  too  thick,  and  when  using  have  it  made 
boiling  hot,  and  keep  on  warming  it  to  keep  up 
the  temperature.  Thin,  hot  glue  makes  a  much 
more  satisfactory  job  than  though  it  were  glued 
thick.  All  strips  of  leather,  before  being  used, 
must  be  laid  on  a  board  with  the  fleshy  side 
downwards,  and  well  wetted  with  a  sponge  and 
hot  water.  All  pieces  of  leather  should  be 
rubbed  down  with  the  leather  stick,  and  after 
this  has  been  done  have  some  clean  hot  water 
handy,  and  with  a  sponge  wash  off  any  glue 
that  may  have  squeezed  out  during  the  rubbing 
process.  After  a  strip  of  leather  has  been  laid, 
always  wash  it  over  with  a  sponge,  to  take  off 
finger-marks,  &c.  When  cutting  out  strips  of 
leather,  where  many  are  to  be  used,  have  two 
pieces  of  £-inch  stuff  the  width  of  the  required 
strip,  lay  them  across  the  skin,  and  cut  a  straight 
edge  to  begin  with ;  then  move  one  wood  strip 
behind  the  other  ;  cut  along  that ;  then  move 
again,  and  so  on.  "When  any  glueing  is  going 
on,  try  and  keep  the  place  nice  and  warm,  as  the 
glue  is  liable  to  chill  if  the  shop  be  cold. 
After  all  the  pairs  of  ribs  have  the  two  strips 
glued  on,  get  a  skin  of  unstrained  sheepskin 
leather,  and  scratch  the  smooth  surface  well  so  as 
to  make  it  rough.  A  scratcher  is  easily  made  by 
fixing  a  piece  of  an  old  saw,  any  length  over 
2  inches,  with  teeth  in  it,  into  a  piece  of  i-inch 
mahogany.  A  piece  of  coarse  glasspaper  glued 
to  a  piece  of  wood  is  another  way  of  making  a 
scratcher.  If  the  surface  of  the  leather  were 
not  disturbed,  the  glue  would  not  adhere  to  it 
nearly  so  well  as  it  will  do  when  the  skin  is  rough. 
Cut  a  good  number  of  strips  1 J  inches  wide ; 
these  are  for  the  bedding  leathers  ;  that  is,  they 
are  put  to  form  a  cushion,  as  it  were,  between 
the  ribs  and  the  parts  to  which  they  are  con- 
nected. They  hold  the  ribs  in  their  places, 
and  keep  the  two  pieces  of  wood  apart  from 
one  another.  The  under  side  of  the  top,  both 
sides  of  the  middle  frame,  the  top  edges  of  the 
linings,  the  under  side  of  the  middle  board,  and 


the  top  sides  of  the  feeders,  will  all  be  bedded 
all  round  with  these  strips.  Those  required  by 
the  lining,  under  side  of  the  middle  frame, 
and  the  bottom  boards,  are  left  flat,  but  the 
remainder  must  be  laid  on  a  board  with  the 
fleshy  side — that  is,  the  side  that  has  not  been 
scratched  —  downwards,  and  f  inch  will  be 
turned  up,  so  as  to  make  them  like  a  V,  with 
a  long  stroke  and  a  short  one.  Pass  a  warm 
iron  along  the  leather,  to  make  the  short  piece 
lay  to  its  required  angle. 

The  next  thing  is  to  find  the  proper  places 
for  the  strips.  On  the  bottom  side  of  the  top, 
and  the  top  side  of  the  middle  frame,  draw  a 
line  all  round,  3}  inches  from  the  outside 
edges,  and  lay  the  folded  leather  so  that  the 
point  of  the  V  will  meet  this  line.  The  long 
piece  of  the  strip  will  lay  on  the  wood  for  J  inch, 
and  will  be  2-g  inches  from  the  outside  edges  and 
ends.  Where  the  side  and  end  strips  meet 
at  the  corners  make  a  rough  mitre.  On  the 
under  side  of  the  middle  board  draw  two  lines, 
If  inches  and  2  feet  3 J  inches  from  each  end, 
and  another  £  inch  from  the  front.  The  point 
of  the  V  will  come  up  to  these  lines.  The  top 
edges  of  the  linings  will  have  a  flat  strip  all  the 
way  round.  On  the  top  side  of  the  bottom 
boards  draw  lines  all  round,  with  the  exception 
of  the  back,  1  inch  from  the  outside,  and  lay  a 
strip  so  that  J  inch  will  project  over  the  front 
and  ends.  Cut  two  pieces  of  leather  4  inches 
wide,  2  feet  3f  inches  long,  and  glue  2  inches  of 
it  on  to  the  bevelled  piece  on  the  back  end  of 
the  feeder,  and  leave  the  other  2  inches  hanging 
over  the  end.  If  the  strips  of  leather  are  not 
long  enough  for  the  bedding  of  one  piece, 
another  strip  may  be  used,  but  on  no  account 
must  they  overlap  one  another.  Each  end  of  the 
leather  will  be  cut  square,  and  put  end  to  end — 
head  and  joint  fashion.  When  laying  the 
bedding  leathers,  glue  the  wood  as  far  as  the 
strip  is  required  to  cover  it.  Lay  the  strips 
quickly  down  in  their  places,  and  pass  a  warm 
flat  iron  over  them  to  make  sure  that  the  leather 
is  quite  close  to  the  wood.  The  iron  must  not 
be  too  hot,  or  it  will  curl  up  the  leather. 

Cut  a  piece  of  f -inch  stuff  to  the  shape  of  Fig. 
1 3  (which  is  a  sketch  of  one  of  the  bellows  pallets), 
bore  a  bradawl  hole  through  each  of  the  centres 


124 


PRACTICAL    ORGAN  BUILDING. 


of  the  dotted  circles,  and  lay  the  piece  down  on 
the  top  side  of  the  feeders.  Mark  round  the 
outside  with  a  pencil,  and  pass  the  bradawl 
through  the  holes  in  the  pattern  into  the  wood. 
This  will  give  the  place  for  the  centre  of  a 
H-inch  bit.  With  this  bit  bore  24  holes  in 
groups  of  sixes,  as  shown  by  the  dotted  round 
holes  in  Fig.  12,  a  representation  of  one  of  the 
feeders.  After  this  is  done,  rub  over  the  holes 
with  a  piece  of  fine  glasspaper  and  a  rubber,  to 
make  a  very  smooth  surface.  Cover  each  of  the 
groups  of  holes  with  a  pallet  of  brown  basil 
leather,  cut  exactly  the  shape  of  Fig.  13.  Lay 
the  pallets  down  over  the  groups  to  the  pencil 
lines  already  made,  and  fasten  them  with  a 
couple  of  tinned  tacks,  \  inch  long,  at  each 
corner.  The  pieces  should  lay  quite  fiat  over 
the  holes.  If  there  should  be  any  knots  or  flaws 
of  the  least  description,  cover  them  with  pieces 
of  leather,  and  glue  strips  1  inch  wide  down  all 
the  joints,  and  give  the  surface  of  the  wood  a 
coating  of  thin  hot  size.  Be  careful  that  no  size 
runs  under  the  pallets.  Patch  and  size  the 
under  and  top  sides  of  the  middle  board.  The 
linings  will  have  a  strip  put  in  the  angle  where 
the  bottom  edge  is  fastened  to  the  middle,  and  a 
short  piece  will  be  glued  in  the  angle  at  the 
corners.  The  middle  board  must  have  a  space  1 
inch  wide,  left  clear  of  size  all  the  way  round  the 
hole  formed  by  the  framework,  and  the  bottom 
side  will  only  be  coated  on  the  inside  beyond  the 
bedding  leathers.  The  under  side  of  the  top  and 
the  two  sides  of  the  middle  frame  will  all  have 
to  be  sized ;  no  size  going  outside  the  strips 
already  laid  down.  The  patching  strips  and  size 
will  keep  the  bellows  sound,  if  the  wood  should 
be  inclined  to  shrink. 

Now  fasten  some  pieces  of  webbing,  like 
that  sold  at  shoemakers  for  Wellington  boots, 
\\  inches  wide  and  2|  inches  long,  over  the 
bedding  leathers  on  the  top  sides  of  the  feeders 
at  2  inches  from  the  ends  of  the  front  and  end 
ribs,  so  that  f  inch  will  project  beyond  the  out- 
side of  the  feeder ;  aaa  in  Fig.  12  are  these 
pieces  fixed  with  half  a  dozen  tacks.  Turn  the 
middle  board  on  to  the  bench  with  the  lining 
downwards,  and  fasten  pieces  of  the  same  stuff 
to  correspond  with  those  of  the  bottom  board. 
Put  the  bottom  boards  in  their  places,  so  that 


the  bevelled  pieces  come  flush  at  the  back  and 
ends,  and  the  front  flush  with  the  front  of  the 
middle  board.  Hold  them  in  that  position  with 
a  couple  of  handscrews,  and  glue  the  projecting 
piece  of  leather  at  the  back  end  of  the  feeder  up 
over  the  edge  of  the  middle  board,  and  on  to  the 
lining  as  far  as  it  will  go.  Now  make  six  hinges 
by  doubling  an  11 -inch  strip,  2  inches  wide,  of 
stout  webbing  like  that  used  by  upholsterers, 
and  fasten  three  of  them  to  each  feeder  with 
copper  nails  1  inch  long.  Four  nails  will  go 
into  the  lining,  and  two  into  the  end  of  the 
bottom  board,  and  a  like  number  into  the 
feeder  batten.  One  hinge  should  go  in  the 
middle,  and  the  others  about  3  inches  from 
the  end.  The  feeders  will  work  on  these  sub- 
stantial hinges,  and  they  will  support  the 
weight  of  the  bottom  boards.  Carefulty  turn 
the  pieces  now  connected  right  over  with  the 
middle  board  at  the  top,  and  prop  it  up  with 
pieces  of  wood,  so  that  there  will  be  a  gap  7 
inches  wide  in  front  between  the  top  side  of 
the  feeder  and  the  bottom  of  the  middle. 

Place  the  pairs  of  ribs  for  the  feeders  in 
their  proper  positions — £  inch  from  the  edges 
of  the  feeder,  and  on  the  middle  board  If 
inches,  and  2  feet  3f-  inches  from  the  outside 
ends,  and  \  inch  from  the  front.  The  bevelled 
ends  of  the  ribs  will  be  \  inch  from  the  out- 
side front  edges  of  the  feeders.  Fasten  the 
couples  at  the  top  and  bottom  with  two  brads 
through  the  rounded  edges.  Leave  J-  of  the 
brad  projecting.  Turn  the  pieces  of  webbing 
over  on  to  the  rib,  and  fasten  those  that  can 
be  so  done  with  three  f-inch  tacks.  The  back 
ones  will  only  be  held  with  glue.  Turn  over 
the  webbing  the  short  piece  of  bedding  leather, 
and  rub  it  well  down.  When  these  are  dry 
carefully  draw  the  brads,  and,  with  a  chisel, 
featheredge— that  is,  take  off  the  ridge  formed 
by  the  leather— the  strips  all  the  way  round, 
and  glue  pieces  of  calendered  leather  If  inches 
wide,  so  that  \  inch  will  be  laid  on  the  edges  of 
the  feeder,  and  the  rest  will  cover  the  bedding 
leather,  and  on  to  the  rib.  Well  rub  the  leather 
down  into  the  corner  at  the  edges  of  the  ribs. 
If  there  is  any  difficulty  in  putting  on  the  strips 
straight,  after  the  rubbing  has  been  done,  put  a 
straightedge  to  them,  and  with  a  sharp  leather 


WOOD  ENGRAVING  FOR  AMATEURS. 


125 


knife  cut  a  narrow  shaving  off  each  side.  This 
■will  give  the  bellows  a  much  tidier  appearance 
when  finished. 

It  -will  be   noticed  that   at  the  corners  great 
gaps  are  formed  ;  these  will  be  filled  in    with 
pieces  of  calendered  leather,  called  the  gussets. 
Fig.  14  represents  one  of  these  pieces.     To  make 
sure  of  the  proper  shape  for  them,  cut  a  piece 
of  brown  paper  an  inch  larger  than  the  hole  all 
the  way  round,  and  mark  the  leather  from  the 
paper  pattern.     In  putting  the  gussets  on,  it  is 
more  than  likely  that  they  will  have  to  be  cut 
J  inch  from  each  edge,  in  the  middle,   so  as  to 
make  them  lay  properly  on  the  rib,   but  if  they 
can  be  pressed  into  the  angle,  do  so  instead  of 
cutting  the  leather.     Only  try  to  lay  half  of  a 
gusset  at  a  time,  and  do  not  glue  the  leather  all 
over  the  inside  surface,   but  just  an  inch  round 
the   edges.      This   will  leave  the  corner  much 
more  pliable,  and  less  likely  to  crack.     Fill  in 
the  back  with  pieces  shaped  like  Fig.   15.     The 
point  will  go  well  on  to  the    ribs   and   feeder, 
will  cover  the  filling-in  bevelled  pieces,  and  turn 
round    over  the   back    H   inches.     When    the 
gussets  are  dry,  put  pieces  shaped  like  Fig.  16 
over  each  corner  of  the  front,  top,  and  bottom. 
In  the  angle  of  the  rib  where  the  gusset  has 
been  cut,  and  even  if  they  are  not  cut,  glue  a 
piece  shaped  like  Fig.  17.  When  the  proper  shape 
has  been  obtained  in  paper  for   each  of  these 
pieces,  cut  out  a  piece  of  thin  stuff  for  a  template, 
and  cut  round  it  with  a  knife.     This  saves  a  good 
deal  of  time.     All  these  filling-in  pieces  must 
be  feather-edged  all  round.     Fig.  18  is  supposed 
to  be  one  of  the  feeder  corners  with  2  inches 
at  the  top  ;  and  I  think  it  will  give  some  idea 
as   to  where  the  gussets,  etc.,  are  laid  if  the 
details  are  not  plain  enough.     Now  get  a  piece 
of  leather  6|  inches  wide,  the  length  of  the  width 
of  the  feeder,  to  cover  over  the  hinges  at  the 
back  and  everything  else  that  may  show  there. 
This  may  be  put  on  in  two  or  three  pieces,  but 
whenever  the  outside  strips  are  not  sufficiently 
long,  the  ends  must  be  feather-edged,  and  cover 
one  another  for  \  inch.     When  all  the  leather 
is  quite  dry,  the  feeder  is  practically  finished,  so 
take  out  the  props   and  gently  let  the  middle 
board  down.     Do  not  be  in  too  great  a  hurry  to 
do  this,  but  give  the  leather  time  to  dry. 


WOOD    ENGRAVING    FOR 
AMATEURS. 

By  AN  AMATEUR   WOOD  ENGRAVER. 

III.— Transferring  Designs  on  to  the  Wood- 
Photographing  on  Wood. 
HE    process     of    transferring    designs 
direct  to  the  block  from  a  printed  cut, 
is  a  valuable  one  to  the  amateur,  and 
is  as  follows  : — 

Transferring  Printed  Designs. — Photography  is 
largely  used  in  transferring  designs  to  the  block  ; 
this  is  a  process,  however,  that  will  be  of  little 
use  to  the  beginner,  as  to  engrave  from  the 
transferred '  photograph  one  must  have  the 
knowledge  and  experience  necessary  to  bring 
out  the  shading  into  lines  of  black  and  white 
from  the    shaded  photograph.      But  a  process 


FIG.  19A.—  ARRANGEMENT  TO  REPLACE  BACK  OF  ORDINARY 
PRINTING   FRAME. 

accessible  to  every  one,  and  simple  in  the  ex- 
treme, is  the  one  by  which  any  lithograph,  steel 
engraving,  or  print  from  a  wood-cut  can  be 
transferred  directly  to  the  block.  The  materials 
used  are  caustic  potash  and  alcohol,  and  the 
tools,  etc.,  a  small  flat  dish,  with  a  bottom  as 
large  as  the  print  to  he  transferred,  a  piece  of 
blotting  paper,  and  either  a  printing  press,  a 
copying  press,  or  a  vice.  The  last  three  are 
preferable  in  the  order  named,  although  with  a 
little  care  as  good  a  copy  can  be  obtained  with 
the  last  as  with  the  first. 

Two  or  three  sticks  of  caustic  potash  must  first 
be  dissolved  in  enough  alcohol  to  give  the 
solution  a  wine  colour  after  it  has  stood  twenty- 
four  hours  ;  it  should  then  be  strong  enough  to 
soften  the  ink  without  curling  the  paper.  If  it 
does  curl  the  paper,  more  alcohol  should  be 
added  until  the  paper  will  lie  flat,  and  not  curl 
in  the  dish.  After  the  solution  is  prepared,  place 
the  print  to  be  copied  in  a  flat  dish,  preferably 
of  earthenware,  and  turn  enough  of  the  solution 


126 


WOOD  ENGRAVING  FOR  AMATEURS. 


over  it  to  cover  it,  and  let  it  stand  for  about  a 
minute  ;  then  rinse  in  clean  water,  to  remove  the 
surplus  of  the  potash,  and  touch  the  corner  of 
the  print  with  the  blotting  paper,  to  remove  the 
excess  of  water.  It  must  then  be  placed  face 
down  on  the  block,  which  has  been  prepared  by 
rubbing  the  surface  with  a  smooth  cork  stopper, 
on  which  has  been  placed  a  little  ground  pumice- 
stone.  See  that  the  print  is  on  square  with  the 
block,  and  to  make  sure  of  it  the  paper  should 
be  cut  the  exact  size  of  the  block  when  it  is 
possible,  and  then  there  is  not  so  much  danger 
of  a  crooked  copy.  If  you  have  a  printing  press, 
the  block  should  be  locked  up  in  the  chase,  and 
after  the  print  is  placed  on  it,  it  should  be  sub- 
jected to  the  pressure  of  the  platen,  the  same  as 
if  a  type  forme  was  on  the  press.  If  proper 
pressure  is  given,  the  print  should  appear  on 
the  block  as  clear  as  it  did  on  the  paper,  but 
in  reverse.  The  print  still  remains  as  a  guide 
in  cutting,  as  the  process  does  not  injure  it  other 
than  to  discolour  it. 

If  a  copying  press  is  used,  a  dozen  or  more 
thicknesses  of  paper  should  be  placed  over  the 
print,  after  it  has  been  placed  on  the  block,  and 
the  whole  be  given  pressure  as  near  the  centre 
of  the  press  as  possible.  I  say  as  near  the  centre 
as  possible,  as  copying  presses  are  not  so  nicely 
adjusted  as  printing  presses,  and  do  your  best, 
you  will  sometimes  get  all  the  pressure  on  one 
corner  of  the  block,  and  none  to  speak  of  on  the 
other  three.  To  overcome  this  difficulty,  the 
block  should  be  moved  around,  and  pressure 
applied  with  it  in  different  parts  of  the  bed  ;  on 
taking  it  out,  the  print  will  be  found  adhering 
closely  to  the  block,  unless  too  dry  when  placed 
on  it.  This  is  an  advantage,  as  it  can  be  care- 
fully peeled  up,  one  corner  at  a  time,  and  if  the 
transfer  is  not  sufficiently  made,  the  whole  can 
be  returned  to  the  press  and  more  pressure 
given  ;  whereas  if  the  whole  print  was  removed, 
it  would  be  almost  impossible  to  replace  it 
exactly  on  the  same  spot.  If  neither  printing 
nor  copying  press  is  at  hand,  the  workshop 
vice  can  be  resorted  to.  To  transfer  in  the  vice, 
the  print  should  be  prepared  as  for  the  copying 
press,  with  several  thicknesses  of  paper  over  it ; 
then  another  block  of  boxwood,  of  the  same  size 
as  the  print,  or  larger,  should  be  placed  face 


down  on  the  paper,  and  the  whole  placed  be- 
tween the  jaws  of  the  vice.  Be  sure  that  they 
are  even  before  pressure  is  given,  and  it  is  bost 
to  shift  the  blocks  about  in  the  vice  two  or  three 
times,  so  as  to  give  pressure  to  all  of  the  sur- 
face. When  the  blocks  are  separated  the  print 
will  appear  with  remarkable  distinctness  on  the 
surface  of  one  of  them.  These  are  the  general 
directions  for  transferring  an  ordinary  book  or 
newspaper  cut ;  lithograph  ink  dissolves  and 
softens  more  readily  than  printer's  ink,  and  more 
care  should  be  taken  with  them.  Experience 
only  will  tell  how  long  to  soak  the  cut,  as  the 
ink  varies ;  sometimes  if  the  solution  is  too 
strong  it  shrinks  the  paper,  so  the  transfer  will 
be  smaller  than  the  original.  In  an  ordinary 
cut  this  does  not  matter,  but  care  should  be 
taken  if  it  is  wished  to  exactly  reproduce  the 
original.  Take  care  in  using  the  solution,  unless 
you  wish  to  have  the  feeling  that  your  fingers 
are  on  fire,  as  you  surely  will  if  any  of  it  touches 
tender  spots. 

Photographing  on  the  Block. — Photography  is 
very  convenient  when  a  drawing  or  print,  which 
must  not  be  soiled  or  injured,  is  to  be  transferred 
to  the  block ;  also  when  a  cut  of  different  size 
from  the  copy  is  to  be  made,  etc.  We  will  sup- 
pose the  amateur  engraver  is  an  amateur  photo- 
grapher also,  and  understands  the  principles  of 
that  fascinating  art ;  if  he  possesses  a  camera 
suitable  to  copy  with,  he  is  all  right,  and  if  not, 
any  ordinary  camera  may  be  made  to  do  service 
by  lengthening  the  bellows,  or  by  extending  the 
front  by  means  of  a  light  pasteboard  box,  with 
the  lens  fixed  in  the  front  of  it.  We  will  sup- 
pose that  all  the  necessary  tools  of  the  trade  are 
at  hand,  and  with  them  a  negative  is  made  from 
the  design  that  is  to  be  reproduced.  Here  it 
may  be  said  that  if  the  negative  is  made  in  the 
usual  way,  the  print  will  be  on  the  block  as  a 
positive,  or  just  the  opposite  from  what  it  should 
be.  There  are  various  remedies  for  this,  and 
one  is  to  turn  the  film  the  same  as  in  zinc  etch- 
ing ;  another  is,  to  reflect  the  picture  in  a  glass 
and  take  the  negative  from  that,  but  the  glass 
must  be  of  the  best  quality  of  mirror.  Ordinary 
work  is  just  as  well  reversed  from  the  original, 
unless  it  contains  lettering  ;  and  so  this  difficulty 
is  not  a  very  great  one.     If    the  design  is  a 


WOOD   ENGRAVING  FOR  AMATEURS. 


127 


simple  one,  no  great  care  is  necessary  in  develop- 
ing the  negative  ;  but,  of  course,  finer  work  needs 
more  attention. 

The  preparation  of  the  block  is  very  simple. 
Three  solutions  'will  be  required,  as  follows  ; 
small  quantities  are  given,  as  it  will  be  found 
more  convenient  than  a  large  receipt : — ■ 

Solution  A. 

Gelatine  . .  . .  . .  9  grains. 

White  soap  . .  . .  9       ,, 

"Water       . .  .  .  .  .  1  ounce. 

Solution  B. 

Albumen .  .  . .  . .  1  ounce  (fl.) 

Water      . .  . .  .  .  6  drachms. 

Sal-ammoniac     ..  ..  21  grains. 

Citric  acid  . .  . .  6         ,, 

Solution  C. 
Nitrate  of  silver  . .  60  grains. 

Distilled  water  . .  . .  1  ounce. 

In  making  up  solution  A,  the  gelatine  is 
allowed  to  soak  in  the  water  an  hour  or  so,  and 
then  is  dissolved  by  putting  the  bottle  or  glass 
in  a  dish  of  hot  water ;  then  the  soap,  cut  in 
small  pieces,  is  added,  and  the  whole  stirred 
until  all  is  well  mixed  ;  then  a  few  pinches  of 
powdered  alum  are  added,  enough  to  settle  the 
foam  which  arises  in  mixing  the  soap ;  then 
strain  through  a  piece  of  muslin.  Solution  B  is 
made  by  beating  up  the  white  of  one  egg  to  a 
froth,  and  letting  it  settle ;  a  good-sized  egg  will 
give  just  about  1  ounce  of  clear  albumen.  The 
water  is  then  added,  and  then  the  sal-ammoniac, 
and  all  is  stirred  with  a  glass  rod  until  mixed. 
The  mixture  will  be  almost  a  gold  colour  then, 
but  after  the  citric  acid  is  added,  as  it  should  be 
next,  the  whole  clears,  and  then  turns  to  a  milky 
colour ;  it  is  then  ready  for  use.  Solution  C 
needs  no  description. 

The  block  is  then  prepared  as  follows :  Its 
surface  is  covered  with  a  little  of  solution  A, 
mixed  with  some  zinc  white,  all  being  gently 
rubbed  over  so  as  to  form  a  thin  film  ;  allow  this 
to  dry,  which  it  will  do  in  a  few  moments ;  then 
give  a  thin  coating  of  solution  B  in  the  same 
manner,  carefully  smoothing  it  over  evenly  with 
the  finger.  Some  use  a  soft  brush ;  but  the 
finger  does  fully  as  well.  This  coating  will  also 
dry  verj-  quickly,  and  then  the  block  should  be 
sensitized  by  solution  C.  Pour  a  little  on  its 
surface,  spread  it  around  with  a  glass  rod,  allow 


it  to  stand  a  few  seconds,  and  then  pour  off  into 
the  bottle  again.  Set  the  block  away  into  the 
dark  to  dry,  and  it  will  shortly  be  ready  for 
printing.  The  ordinary  printing  frame  can  be 
used,  only  instead  of  the  packing  an  arrange- 
ment like  Fig.  19a  can  be  used.  Take  a  narrow 
strip  of  stout  brass,  and  bend  it  up  as  in  the 
Fig.,  and  then  bore  several  holes  in  the  long 
part,  and  cut  threads  in  them  for  a  thumb- 
screw, or  a  wedge  may  be  used  instead.  Place 
this  over  your  printing  frame,  the  small  bends 
coming  over  the  front  of  the  frame,  and  the 
thumbscrew  over  the  back;  place  the  block, 
face  down,  on  the  negative,  and  over  the  design 
to  be  copied,  slide  the  brass  directly  over  it,  and 
place  the  thumbscrew  in  the  hole  nearest  the 
centre  of  the  block ;  screw  it  down  on  to  the 
block  easy,  and  then  the  latter  can  be  slipped 
exactly  into  place,  and  the  screw  tightened.  The 
print  should  be  made  in  the  sun  as  usual ;  five 
or  six  minutes  ought  to  print  it  sufficiently,  but  it 
must  surely  be  enough,  as  if  moved  it  is  for 
good.  If  it  is  very  desirous  that  a  nice  print 
should  be  made,  small  pieces  of  wood  may  be 
glued  around  the  block  on  the  negative,  so  that  it 
may  be  examined  to  see  how  it  is  printing ;  the 
print  should  be  only  slightly  darker  than  the 
tone  desired,  as  the  process  of  fixing  weakens 
the  image  only  slightly.  If  the  cut  is  small  and 
simple,  and  is  to  be  outlined  at  once,  there  is 
no  need  of  fixing,  as  the  image  will  last  long 
enough  without  it ;  or  it  may  be  kept  in  the 
dark  until  wanted,  and  then  done  quickly. 

To  finish,  place  the  block,  face  downwards,  in 
a  saturated  solution  of  salt,  and  leave  for  three 
minutes ;  this  will  weaken  the  print  a  little. 
After  washing,  fix  in  the  hypo  bath,  and  wash 
for  about  ten  minutes ;  dry  with  blotting  paper 
and  a  cloth,  and  the  block  is  ready.  So  much 
wet  does  not  do  the  block  any  good,  although 
many  claim  that  the  process  is  a  good  one.  If 
the  wood  is  properly  dried,  no  great  difficulty 
will  be  found. 

Another  simple  process  is  to  coat  the  block 
with  a  mixture  of  £  part  gelatine  to  33  parts 
water,  a  little  gilder's  glue  being  added  as  it  is 
being  put  on ;  then  the  surface  is  coated  with 
the  ordinary  blue  print  mixture,  and  a  blue 
print  made  by  exposing  according  to  light. 


128 


AMATEUR    CONJURING. 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 
By  ARTHUR  BARLEY. 

■A  New  Magic  Wand  for  Card  Tricks. 
N  my  last  paper  I  gave  instructions  to 
the  amateur  for  making  a  "  multiplying 
coin,"  and  in  this  I  shall  try  to  make 
clear  to  him  a  new  wand.  Now,  there  are  dozens 


supply  him  with  one.  It  is  particularly  useful 
when  there  is  an  individual  amongst  the 
audience   who  "  knows  how  that's  done,"  and 


D 


,-F 


10 


F I G . 9  FIG 

DESCRIPTION  OF  FIGURES. 
FIG.  7.— SECTION  OF  WAND  (HALF  SIZE)  ;  A,  TUBE  IN  WHICH  CARD  IS  PLACED  ;  B, 
CYLINDER  OF  SOLID  METAL  OR  WOOD  ;  C,  SMALL  CATCH  ;  D,  SPRING  ;  E,  SCREWED 
BOTTOM,  SO  THAT  THE  SPRING  MAY  BE  GOT  AT  IN  CASE  OF  ACCIDENT.  FIG.  8. — 
EXTERIOR  OF  WAND  SHOWING  (C)  CATCH,  AND  (F)  GROOVE  IN  WHICH  CATCH  SLIDES. 
FIG.  9. — SPRING,  END  ELEVATION  AND  FRONT  VIEW  (FULL  SIZE).  FIG.  IO. — CARD 
WITH    SPRING  ATTACHED  (FULL    SIZE). 


FIG    .7 


F  I  C 


of  various  kinds  of 
wands :  the  coin  pro- 
ducing wand,  the 
magnetic  wand,  the 
pistol  wand,  and  the 
electric  wand  being 
among  the  number ; 
the  last-named  giving 
a  sharp  shock  to  any 
person  not  in  the 
secret  of  laying  hold 
of  it.  If  any  amateur 
should  want  to  have 
one  of  these  in  his 
possession,  I  have  no 
doubt  thatMr.  Bland, 
of     London,     could 


tells  his  nearest  neighbour  in  an  audible 
whisper  heard  all  over  the  room. 

But  to  return  to  the  subject  of  this  paper. 
This  wand  has  not  before  been  brought  under 
the  notice  of  the  public ;  but  that  will  be  no 
drawback  to  its  successful  use  if  the  amateur 
will  carefully  attend  to  the  drawings  and  in- 
structions— rather  an  advantage,  I  fancy,  as 
some  of  the  tricks  that  you  see  produced  have 
been  performed  "  since  Adam  was  a  boy,"  as 
the  song  says.  Not  that  I  despise  a  trick  because 
it  is  old,  for  some  of  the  oldest  tricks,  as,  for 
instance,  those  invented  by  Robert  Houdin,  etc., 
are  amongst  the  finest  that  have  ever  been 
performed. 

At  Fig  .7  we  are  shown  the  section  of  the  wand. 
The  tube  may  be  brass  or  copper,  tin  or    iron. 


A    STRONG    USEFUL  NURSERY  FOOTSTOOL. 


129 


The  material  is  immaterial  (no  pun  intended). 
I  myself  prefer  the  brass  tubing.  There  is  a 
ferrule  at  each  end,  the  bottom  one,  as  shown  at 
e,  being  tapped,  to  screw  in  or  out,  so  that  if 
anything  should  go  wrong  with  the  spring  it  is 
easily  "  getatable."  d  is  the  spring,  made  of  steel 
wire ;  about  18  B.W.G.  is  the  right  thickness. 
If  the  amateur  understands  tempering  steel,  etc., 
he  will  be  able  to  make  this  himself  by  twisting 
the  soft  wire  round  a  rod  the  required  thickness, 
and  then  tempering  it ;  but  should  he  not  be 
able  to  do  this,  a  watchmaker  will  do  it  for  a 
trifle.  Figs.  7  and  8  are  half-size.  B  is  a  solid 
cylinder  of  hard  wood  ;  a  is  a  space  the  length 
of  a  playing  card;  and  c  a  small  catch.  By 
looking  at  Fig.  8,  the  use  of  the  catch  will  be 
apparent.  The  drawing  shows  the  wand  as 
being  ready  for  use ;  the  small  catch  just  pressed 
in  the  side  groove.  If  a  card  is  placed  endwise 
in  the  space  marked  a  (Fig.  7),  and  then  the 
catch  pushed  to  the  left,  the  spring  will  push 
the  cylinder  up  to  the  top,  and  the  card  out  of 
the  wand.  But  now  comes  the  "rub."  If  the 
card  be  rolled  up  to  fit  in  the  tube  (the  tube  is 
barely  f  inch),  when  it  is  pushed  out  it  will  not 
go  flat  again  without  bending,  and  that  would 
spoil  the  "  experiment  "  ("  experiment"  sounds 
so  much  more  businesslike  than  "  trick  ")  ;  so  I 
devised  a  remedy  for  this.  It  is  a  piece  of  spring 
steel ;  a  very  small  clock-spring  will  do  very  well 
if  the  steel  is  good.  Measure  the  length  by  the 
cards  you  use,  and  then  turn  up  each  end  (you 
will  have  to  soften  it  first)  just  the  smallest  bit, 
to  clip  the  edge  of  the  card.  The  spring  is 
shown  in  Fig.  9,  and  a  card,  with  the  spring 
fitted,  in  Fig.  10.  You  will  probably  break 
eleven  out  of  the  twelve,  and  then  the  twelfth 
will  probably  be  too  thin,  or  too  thick ;  but 
stick  to  it.  I  had  the  same  game  myself ;  I 
was  all  one  day  testing  and  breaking.  Perhaps, 
too,  one  spring  will  not  be  sufficient  to  fetch  the 
card  back  to  its  original  position,  in  which  case 
you  must  use  two.  When  you  handle  the  card 
you  can  easily  draw  them  off,  and  "  palm  "  them. 
Now  place  your  spring  in  the  tube  (not  the  card 
spriDg,  but  the  spring  marked  d  in  Fig.  7),  and 
screw  on  the  bottom  ferrule.  If  you  have  made 
your  spring  right,  the  wood  cylinder  ought  to  be 
right  at  the  top  of  the  tube.    Now  cut  the  head 


and  about  \  inch  of  a  stout  pin,  and  drive  it  in 
the  cylinder  at  the  top  of  the  narrow,  long 
groove.  Then  get  a  small  tin  of  Aspinall's 
enamel,  and  enamel  it  black.  Let  the  wand 
stand  upright  until  it  is  perfectly  dry.  The 
reason  I  say  this  is,  because  I  have  a  young 
friend  who  has  a  mania  for  painting,  enamelling, 
etc.,  and  always  goes  to  his  work  every  five 
minutes  to  feel  if  it  is  dry.  The  result  can 
better  be  imagined  than  described. 

It  is  better  to  have  a  duplicate  wand  the 
exact  counterpart  of  its  tricky  brother,  but  of 
solid  wood  instead  of  metal.  Make  the  "  trick  " 
wand  first,  and  then  turn  on  the  lathe,  or  get 
turned,  a  model  of  the  "trick"  one  in  every 
respect,  except  that  it  is  solid  wood  instead  of 
being  hollow  brass.  In  my  next  paper  I  shall 
have  a  few  words  to  say  concerning  the  working 
and  "  patter  "  of  the  trick. 


A  STRONG  USEFUL   NURSERY 
FOOTSTOOL. 

BEING  THE  THIED  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD    UTILITY. 

By  ED.  C.  ROE,  Junr.,  Silver  Medalist  City  and  Guilds 
of  London  Institute. 


HILST  looking  round  the  nursery  one 
day,  I  observed  in  the  corner  a 
footstool,  well  worn,  'tis  true ;  but 
considering  the  fact  that  nearly  seven  years 
have  elapsed  since  the  said  stool  left  the  bench, 
and  that,  during  that  time,  has  been  subjected 
to  all  those  little  indignities  which  such  an 
article  is  generally  likely  to  have  thrust  upon 
it  during  its  sojourn  in  youthful  domains,  still 
bears  a  respectable  and  substantial  appearance. 

There  is,  as  will  be  noticed,  but  little  attempt 
at  ornamentation,  strength  and  safety  being 
considered  for  the  purpose  more  important. 

Our  second  section,  so  to  speak,  must  treat  of 
the  material  to  be  used.  The  original  is  made  of 
American  yellow  pine,  left  clean  from  the  plane, 
and  is  periodically  scrubbed  to  keep  it  present- 
able. Since,  however,  a  similar  stool  has  been 
made  of  pitch  pine,  and  looked  extremely  nice 
when  sized  and  varnished ;  the  only  objection  to 


130 


A   STRONG    USEFUL  NURSERY  FOOTSTOOL. 


it  being  the  weight.  There  is  no  reason  why 
the  stool  should  not  be  made  of  pine,  and  then 
enamelled  in  one  of  those  aesthetic  tints  so 
prominent  at  the  present  time. 

Again  I  ask  the  question,  "  Have  you  set 
out  sections  full  size  ? "  If  not,  do  so  before 
proceeding  further.  The  drawings  are  half 
full  size,  the  radii  of  the  curves  being  marked 
in  the  most  important  instances. 


f-  of  an  inch  wide,  as  at  a,  Fig.  A.  This  having 
been  satisfactory  accomplished,  we  may  do  that 
which  is  useful  in  very  many  similar  instances — 
glue  the  two  together  with  a  couple  of  pieces  of 
paper  between.  This  is  best  done  by  glueing 
one  piece  of  paper  over  the  inner  face  of  each 
leg,  and  then,  after  glueing  the  papers,  stick 
together  and  place  in  a  cramp  or  under  a  heavy 
weight  to  dry.     "While  these  are  drying,  the  top 

B 


If  2  feet  5  inches  of  9  inch  by  1  inch  yellow 
pine,  or  whatever  material  it  is  decided  to  use, 
be  obtained,  it  will  make  the  top  and  the  two  legs. 
This  should  be  carefully  planed  up,  the  face  edge 
shot,  and  then,  with  a  marking  gauge,  gauged 
to  width,  which  is  8f  inches  finished.  Cut  12J 
incheB  off — this  will  form  the  top  ;  divide  the 
remnant  into  two  parts,  which  will  make  the 
legs.  Having  the  pieces  for  the  legs  in  our 
hands,  we  may  as  well  get  them  prepared  and 
set  out  at  once.  Taking  one  piece,  set  out  the 
outline  as  at  Fig.  A ;  there  will  be  two  tenons 


may  receive  attention.  The  first  thing  is  to  set 
out  the  four  mortises ;   these  are  ^  of  an  inch 

;  square,  preferably  a  little  full  on  the  top  side, 
and  require  careful  cutting  through.     Perhaps 

;  the  best  way  is  to  bore  out  the  middle  of  each 
with  a  centre-bit  before  paring  out ;  bore  from 

j  the  top  side.  The  edges  require  rounding.  This 
is  best  done  in  the  following  manner :  plane 
the  ends  perfectly  square,  and  then  with  a  pair 
of  dividers  set  out  a  section  of  the  round  on  each 
of  the  four  ends  of  the  side  edges  ;  this  will  give 
something  to  work  to,  as  it  is  best  to  work  the 


HOT    WATER  FITTING  FOR   SMALL   HOUSES. 


131 


end  grain  first,  and  then  the  sides.  If  we  run 
a  pencil  line  on  each  face  T£  from  the  edge,  such 
lines  -will  form  a  guide  when  rounding,  as  also 
will  a  line  on  the  edge  parallel  to  the  face ;  this 
done,  round  the  corners  slightly. 

Taking  the  legs  out  of  the  cramp,  or 
wherever  we  may  have  placed  them,  cut  out  to 
lines,  and  clean  up  with  spokeshave  and  rasp, 
using  finally  a  little  glasspaper,  but  do  be 
careful  of  the  arrises.  The  circular  hole  at  b, 
Fig.  A,  will  of  course  be  cut  with  a  centre-bit. 
Coming  now  to  the  stage  when  the  legs  are 
required  separate,  we  must  exercise  proper  care; 
not  that  any  great  difficulty  should  arise  when 
dividing  them,  but  it  is  well  to  guard  against 
accidents,  which  are  better  prevented  than 
remedied. 

When  fitting  the  legs  to  the  top,  great 
precision  is  requisite  ;  keep  close  observation  on 
the  top  side  when  driving  the  tenons  through. 
After  fitting,  cut  the  ends  of  tenons  crossways 
to  take  wedges,  as  shown  at  Fig.  C,  and  then, 
with  good  glue,  put  together,  keeping  careful 
watch  on  the  legs,  seeing  they  are  square  to  the 
top  ;  this  is  especially  applicable  when  wedging 
up.  Place  aside  to  dry,  and  prepare  the  side 
slips,  which  require  to  be  10£  inches  long,  1  inch 
wide,  by  f-inch  thickness,  a  ^-inch  bead  on  the 
bottom  edge  ;  the  ends  are  shaped  as  shown 
at  Fig.  B. 

These  slips,  after  fitting  to  places  provided  for 
them,  may  be  screwed  on  with  a  couple  of  f-inch 
screws  to  each  corner  ;  if  it  is  intended  to  leave 
plain,  brass  screws,  left  flush  with  face,  will  do ; 
if  to  be  painted,  countersink  in.  The  top  may 
now  be  cleaned  off,  and  the  stool  dedicated  to 
the  performance  of  such  small  services  as  will 
doubtless  fall  to  its  lot. 


Rubbings  of  Monumental  Brasses  which 
adorn  many  of  our  churches  are  best  made  by 
covering  the  brass  with  a  sheet  of  highly-glazed 
tissue  paper,  which  is  then  rubbed  with  a  mix- 
ture of  blacklead  and  linseed  oil,  applied  by 
means  of  a  piece  of  wash-leather.  Such 
rubbings  are  most  faithful,  and  can  be  excel- 
lently reproduced  by  photography ;  while,  as  a 
rule,  it  is  almost  impossible  to  photograph  the 
brass  direct. — The  Amateur  Photographer. 


HOT    WATER    FITTING    FOR 
SMALL    HOUSES. 

By  L.  L. 


II.- 


fltting  up  the  pipes — making  connections— size 
and  Position  of  Tanks. 

HE  first  thing  to  do  towards  fitting  up 
the  pipes  is  to  fit  two  connectors  to 
the  boiler.  These  connectors  afford  a 
ready  means  of  removing  the  boiler  at  any 
future  time  for  repairs  to  same,  or  to  the  pipes, 
should  such  be  required,  without  cutting  the 
pipes.  Fig.  6  explains  the  use  and  the  manner 
of  fitting  up  these  connectors.  The  two  pipes, 
A  a,  have  a  long  thread  cut  on  them  at  one  end, 
long  enough  for  a  back-nut  and  socket  to  be 
screwed  on,  so  that  the  sockets  come  flush  with 
the  edge  of  the  pipes  that  they  are  screwed  on. 
The  pipes  b  b,  which  are  supposed  to  be  the 
pipes  leading  away  from  the  boiler  to  the  tank, 
are  brought  close  to  the  pipes  a  a,  and  the  sockets 
screwed  on  to  them  several  threads,  and  then 
the  back-nuts  are  screwed  up  tight  to  the  sockets 
with  a  wrench.  When  required  to  be  taken 
apart  the  process  is  reversed,  the  back-nut  is 
screwed  back,  and  this  leaves  room  for  the  socket 
to  be  screwed  back  also ;  whereas,  if  the  pipes 
were  simply  screwed  together  in  the  ordinary 
way  with  short  threads,  the  socket  could  not  be 
moved  one  way  or  the  other,  and  the  pipe  would 
have  to  be  cut  apart — a  very  awkward  job.  I 
must  also  here  say  that  the  sockets  and  back- 
nuts  of  connectors  must  run  on  fairly  easy — not 
to  require  tongs  to  move  them  on  their  own 
pipe.  Of  course,  when  connecting  to  the 
other  pipes,  tongs  will  be  used,  and  the 
sockets  screwed  on  as  tightly  as  possible. 

For  getting  the  joint  sound,  make  up  some 
red  lead  paint  a  little  thicker  than  cream, 
with  red  lead,  boiled  oil,  and  a  little  terebine 
or  gold  size.  Apply  it  with  a  brush  to  the 
threads  of  the  pipe,  and  wrap  round  a  strand  of 
dressed  hemp.  Let  this  wind  round  in  the  same 
direction  in  which  you  are  screwing,  or  it  will 
be  of  no  use,  as  it  will  not  draw  into  the  joints. 
A  few  strands  of  hemp  must  also  be  wound  round 
between  the  back-nut  and  the  socket  before 
screwing  the  back-nut  up,  which  must  be  done 
with  a  large  wrench  or  screw-hammer. 


132 


HOT   WATER   FITTING  FOR   SMALL  HOUSES. 


We  will  now  return  to  the  boiler.  Cut  the 
connector  for  the  top  a  foot  long,  and  the  one 
for  the  back  18  inches.  This  will  want  an  elbow 
and  nipple  on  one  end  to  screw  into  the  boiler 
at  the  back.  There  are  two  sorts  of  elbows  (see 
Figs.  7  and  8) ;  one  is  rounded  at  the  back,  and 
the  other  square.  For  hot  water  work  always 
use  the  round  ones  if  possible,  and  where  it  is 
not  particular  about  fitting  round  angles  of  walls, 
etc.,  use  bends  (Fig.  9),  as  all  sharp  corners 
tend  to  hinder  the  circulation.  Take  the 
shortest  connector,  and  run  a  back-nut  on  the 
end  that  is  going  into  the  boiler,  leaving  f  of  an 
inch  of  thread  to  screw  into  the  boiler.  This 
being  the  flow  pipe,  there  is  one  very  important 
thing  to  notice — the  pipe  must  not  project 
through  the  top  of  the  boiler  only  just  one 
thread.  I  will  explain  why,  and  Fig.  10  will 
assist  the  explanation.  We  will  suppose  it  to 
represent  the  boiler  fitted  up  and  commencing 
to  fill.  The  water  flows  in  at  the  return  pipe,  e, 
and  drives  the  air  out  of  the  boiler  as  it  fills  till 
it  reaches  the  flow  pipe,  f,  which  is  projecting 
through  the  top  of  the  boiler.  When  it  reaches 
this  pipe  it  seals  it  as  far  as  the  air  is  concerned, 
and  leaves  a  quantity  of  air  in  the  boiler.  When 
the  full  pressure  of  the  water  is  on  the  boiler 
the  air  is  forced  out  through  the  manhole  joint, 
and  makes  it  leak  ;  or,  if  the  joint  be  so  strong 
that  it  cannot  do  this,  the  air  causes  noises  and 
knockings  in  the  pipes  and  boiler  in  its  en- 
deavour to  escape ;  but  this  will  not  happen  if 
you  only  allow  it  to  come  through,  as  I  have 
stated,  one  thread,  or  even  flush  with  the  inside 
is  best  of  all.  Now  screw  the  connector  in  for 
the  return  pipe,  making  a  good  sound  joint  with 
the  red  lead  paint  and  hemp,  and  the  manhole 
can  now  be  packed.  The  cover  consists  of  three 
pieces — the  cover  itself,  bridge,  and  nut.  The 
bridge,  which  goes  inside  the  boiler,  has  a 
piece  of  ^  or  |  inch  round  iron  rivetted  into  it, 
on  which  is  a  thread.  The  cover  has  a  hole  in 
it,  through  which  the  pin  of  the  bridge  passes. 
The  nut  is  placed  on,  and  screwed  up  tight. 
This  is  the  way  to  do  it : — Paint  round  the  edge 
of  the  manhole,  and  also  the  rim  of  the  cover  ; 
spread  a  layer  of  red  lead  cement  round  the  rim 
of  cover,  and  wind  round  it  three  or  four  rows  of 
tar  twine,  and  press  it  into  the  cement ;  plait  a 


grummet  or  washer  of  hemp  that  will  just  press 
on  the  pin  of  the  bridge  ;  tie  a  piece  of  thin 
string  on  the  pin,  and  let  it  into  the  boiler ;  hold 


FIG.  6.— METHOD  OF  FITTING  CONNECTORS.  FIG.  7. —ROUND 
ELBOW.  FIG.  8.— SQUARE  ELBOW.  FIG.  9. — BEND. 
FIG.  IO.— ILLUSTRATION  OF  A  BADLY  FITTED  BOILER. 
FIG.  12. — CONNECTION   OF   PIPES  TO   TANKS. 

it  up  by  the  string  in  its  place  while  you  slip  on 
the  cover,  then  the  washer,  and  then  the  nut ; 
take  off  the  string  and  screw  up  tight.  A 
better    way  to  hold  up   the   covers  than  the 


HOT    WATER  FITTING  FOR   SMALL  HOUSES. 


133 


string,  is  to  tap  the  pin,  and  screw  in  a  piece  of 
J-inch  rod  about  7  or  8  inches  long,  with  the 
end  bent  at  right  angles  about  an  inch  ;  it  is  a 
little  more  trouble  at  first,  but  it  saves  trouble 
when  cleaning  out  the  boiler.  Another  way  to 
pack  the  manholes  is  to  use  a  piece  of  thick 
indiarubber  with  wire  insertion,  but  it  comes 
more  expensive.  The  reader  can  please  himself 
which  plan  he  adopts. 
The  boiler  is  now  ready 
to  go  in  its  place ;  your 
bricklayer  will,  if  he 
be  a  competent  man 
at  range  work,  under- 
stand the  best  way  to 
fix  this ;  you  will 
understand  that  it 
forms  the  back  of  the 
fire  instead  of  a  fire- 
brick. In  the  case  of 
a  boot  boiler  flue,  room 
to  the  depth  of  3  inches 
should  be  allowed 
under  the  boiler.  This 
flue  must  be  well  raked 
out  every  morning ; 
and  here  is  where  a 
great  many  complaints 
arise  —  the  servants 
through  rising  late,  or 
through  carelessness, 
or  negligence,  omit  this 
part  of  the  business, 
and  allow  the  flue  to 
get  clinkered  up;  the 
water,  of  course,  will 
not  get  hot  quick 
enough,  and  the  poor 
hot  water  fitter  gets  the 

blame.  The  centre  part  of  the  top  or  hot  plate 
of  the  range  should  be  movable,  so  that  the  man- 
hole of  the  boiler  can  be  got  at  for  the  purpose 
of  cleaning,  which  should  be  done  periodically 
at  not  greater  intervals  than  twelve  months  in 
the  generality  of  cases.  As  the  lime,  chalk, 
iron,  and  other  deposits  cake  on  to  the  sides  of 
the  boiler,  and  as  the  water  cannot  touch  the 
iron  to  keep  it  cool,  the  fire  burns  the  boiler 
away.     After  the  first  clean  out,  the  amount  of 


deposit  in  the  boiler  will  be  a  guide  as  to  when 
it  will  require  doing  again. 

The  next  thing  to  consider  is  the  size  and 
position  of  the  tanks.  The  size  depends  on  the 
quantity  of  water  likely  to  be  required  at  a 
time ;  but  for  the  class  of  house  that  I  am 
writing  for,  I  should  advise  a  40  or  50  gallon 
cold  cistern,  and  a  20  or  25  gallon  circulating 
tank,  The  cold  water  tank  will 
cost  about  28s.  to  30s.  and  the  hot 
ditto  a  little  less,  but  not  much, 
as  though  smaller  there  is  more 
work  in  it.  With  regard  to  their 
position,  houses  vary  so  in  con- 
struction that  it  is  almost  im- 
possible to  lay  down  any  plan  that 
will  suit  all,  so  that  whatever 
I  may  say  about  it,  it  must  be 
considered  and  modified  to  suit 
circumstances ;  they  must,  how- 
ever, be  above 
where  you  want  the 
highest  draw  -  off, 
and  may  be  close 
together,  or  not.  I 
have  seen  them  in 
the  following  posi- 
tions :  both  side  by 
side  on  landing  of 
top''  floor ;  side  by 
side  in  the  roof ; 
side  by  side  and 
cased  round  with 
wood,  and  covered 
in,  in  a  servant's 
bedroom ;  hot  water 
tank  on  a  landing  in 
a  cupboard,  to  form 
a  linen  chest,  and 
cold  tank  in  the  roof.  These  are  some  of  the  ways 
in  which  the  tanks  may  be  disposed.  If  placed 
on  a  landing,  and  cased  round  with  wood,  with  a 
cover  screwed  on,  there  is  nothing  unsightly, 
and  they  can  be  easily  and  quickly  got  at ;  and 
when  placed  up  in  the  roof,  there  is  nothing 
to  be  seen,  and  they  are  out  of  the  way.  Before 
fixing,  three  holes  must  be  cut  in  the  cold  water 
tank,  one  in  the  bottom — a  few  inches  from  the 
side  that  will  be  next  to  the  hot  water  cistern 


134 


HOW  TO  MAKE  A   PHOTOGRAPHIC  STILL. 


for  the  feed  pipe — one  2  inches  from  the  top  for 
the  cold  water  supply,  and  one  3  inches  from 
the  top  for  the  overflow.  The  overflow  should 
he  2-inch  pipe,  and  should  be  carried  through 
the  wall  on  to  the  roof,  or  into  a  spout  head  or 
gutter  ;  f -inch  pipe  will  be  large  enough  for  the 
supply  to  the  cold  water  cistern.  Three  holes 
will  also  require  to  be  made  in  the  circulating 
tank,  for  the  flow,  return,  and  expansion.  The 
bath  also  should  be  placed  in  the  position  that 
it  is  to  occupy  ;  you  have  then  got  something  to 
work  to.  The  pipes  can  now  be  fitted  in.  Fig.  11, 
which  shows  the  whole  arrangement  complete, 
will  give  a  general  idea  of  how  to  do  this. 
The  pipes  should  be  of  good  quality — that  known 
as  steam  pipe  ought  to  be  used  for  the  flow  and 
return ;  the  cold  water  pipes  can  be  ordinary 
iron  barrel ;  the  pipes,  in  the  sketch  as  shown, 
going  in  a  straight  line  from  the  boiler  to  the 
cistern.  This,  of  course,  is  simply  to  show  the 
relative  position  and  fitting  up  of  the  system. 
Every  house  varies,  and  so  will  the  ways  of 
taking  the  pipes.  The  flow  and  return  will,  of 
course,  have  to  come  through  the  wall  of  the 
chimney,  either  on  the  sides,  or  the  front,  or  back, 
whichever  is  most  convenient.  In  a  suitable  place 
put  the  T  for  the  branch  to  the  kitchen  tap  ;  keep 
the  two  pipes  as  close  together  as  possible  for 
appearance.  The  T  which  brings  the  cold  feed 
from  the  supply  cistern,  can  be  put  in  at  any 
point  below  the  level  of  the  bath ;  all  three 
pipes  then  run  on  together.  When  the  height 
is  reached  for  the  bath,  a  T  can  be  put  in  the 
flow  for  the  hot  water,  and  also  in  the  cold 
feed,  to  supply  cold  water  to  the  bath.  These 
three  tees  will  be  what  are  called  reducing 
tees,  1  inch  through  with  f-ineh  outlet.  When 
the  cisterns  are  reached,  connect  to  them  with  a 
sort  of  double  connector  (see  Fig.  12,  which 
explains  this  very  clearly) ;  do  not  omit  to  red- 
lead  the  joints,  and  to  use  a  strand  of  hemp, 
and  screw  as  tight  as  you  know  how.  With 
regard  to  the  cold  supply  to  cistern,  it  may 
happen  that  it  is  more  convenient  to  take  it  in 
a  different  direction  to  the  other  pipes  ;  but  this 
is  of  no  importance.  A  good  ball  valve  is 
essential.  Lambert's  or  Warner's  are  as  good  as 
any  I  know  of ;  they  cost  about  3s.  or  4s. 
Note  in  taking  the  pipes  horizontally  that  the 


pipes  do  not  dip  at  all,  but  rather  incline 
upwards  in  the  direction  in  which  they  are 
going  ;  neglect  of  this  causes  bad  circulation  and 
noises  in  the  pipe,  produced  by  air  gathering  in 
them  and  trying  to  escape.  It  will  also  be 
seen  that  I  have  shown  the  cold  water  entering 
the  return  pipe,  whereas  in  the  preceding  paper 
it  was  shown  siphoning  into  the  bottom  of  the 
hot  water  cistern — either  plan  can  be  adopted ; 
and  the  same  remark  applies  to  the  flow  and 
return  pipe,  which  can  go  in  either  straight 
through  the  bottom  or  taken  in  at  the  side,  the 
only  proviso  being  that  the  flow  shall  come  7  or 
8  inches  above  the  return.  The  expansion  pipe 
of  the  circulating  cistern  can  now  be  fixed  in  ; 
this  should  be  the  same  size  as  the  flow  and 
return  pipe,  viz. ,  1  inch ;  fix  it  with  two  back- 
nuts,  one  in  and  one  out ;  make  sound  joints. 
This  pipe  can  be  carried  with  a  bend  over  the 
cold  water  tank,  which  is,  in  my  opinion,  better 
than  taking  it  up  through  the  roof,  as  it  is  not 
so  likely  to  freeze,  and  is,  moreover,  less  trouble. 
This  being  all  the  connections  to  the  circulating 
cistern,  the  manhole  can  be  screwed  down. 
Most  makers  send  them  out  with  a  rubber 
ring  for  the  joint ;  but  if  not,  they  must  be 
packed  in  the  same  manner  as  the  boiler, 
that  is,  as  far  as  the  packing  is  concerned ; 
they  are  generally  fastened  down  with  about 
a  dozen  -1-inch  square-headed  set  screws,  round 
each  of  which  must  be  rubbed  a  little  red- 
lead  cement  and  some  hemp ;  this  applies 
equally  if  there  is  a  rubber  ring. 


HOW  TO  MAKE  A  PHOTOGRAPHIC 
STILL. 

By  CEAS.  A.  PAEKES. 

NDER  the  above  heading  it  is  the 
writer's  intention  to  describe  the 
construction  of  a  simple  form  of 
photographer's  still,  for  the  purpose  of  keeping 
the  operator  well  supplied  with  that  most  impor- 
tant liquid,  pure  water.  The  first  proceeding 
will  be  to  consider  the  articles  required.  Fore- 
most amongst  these  will  be  three  round  tins 
with  lids,  one  of  them  measuring,  say,  8  inches  in 
height  and  about  6  inches  in  diameter  (this  is 
shown  in  Fig.   1 ) ;  the  next    tin  being    about 


HOW  TO  MAKE  A   PHOTOGRAPHIC  STILL. 


135 


twice  the  height  of  the  first,  and  about  the  same 
diameter  (Fig.  2)  ;  whilst  the  third  tin  is  6  inches 
high,  and  about  10  inches  in  diameter  (see 
Fig.  3).  "We  shall  also  require,  from  an 
operative  chemist,  a  glass  acid  funnel  15  inches 
long  (see  Fig.  4),  and  a  9-inch  length  of 
f -inch  Bohemian  glass  tubing.  If  the  chemist 
is  obliging,  it  may  be  possible  to  simplify 
matters  by  getting  him  to  bore  a  f-inch  hole 
in  a  good  sound  cork,  into  'which  the  piece  of 
tubing  may  be  fitted  (similar  to  Fig.  5).  The 
next  requisite  will  be  a  block  tin  tube,  15  inches 
long  and  1\  inches  in  diameter,  to  one  end  of 
which  a  lid  is  soldered,  and  a  small  funnel  at 
the  other  extremity.  At  about  3  inches  from 
the  top  of  the  tube  a  hole,  an  inch  in  diameter, 
must  be  punched  through  the  side,  and  into 
the  hole  thus  formed  a  3 -inch  length  of  tin 
tubing  is  inserted  and  soldered  (see  Fig.  6). 
The  above  tube,  which  forms  the  steam 
cylinder  of  the  condenser,  may  with  advan- 
tage be  made  of  copper,  and  the  solder 
should  be  used  as  sparingly  as  possible,  as  a 
white  insoluble  crust  is  apt  to  form  upon  the 
soldered  seams.  About  24  inches  of  moderately 
stout  strap  iron,  f  inch  wide,  and  a  piece  of 
tin  plate,  about  6  inches  square,  will  complete 
the  list  of  materials,  which  may  be  readily  put 
together  by  anyone  possessing  a  slight 
mechanical  skill  and  the  ability  to  wield  a 
tinman's  bolt. 

"When  ready,  take  the  small  tin  (Fig.  1), 
and  punch  a  hole  in  the  side  at  about 
1  inch  from  the  top,  the  diameter  being 
about  I  \  inches  ;  then  cut  off  a  piece  of  the  tin 
plate,  and  turn  up  a  small  tube,  one  end  of 
which  is  fitted  into  this  opening,  with  the 
other  end  tapering  to  about  1  inch  in  diameter 
(see  Fig.  1).  Having  ascertained  that  the 
larger  end  of  the  tube  fits  tightly  into  the 
aperture  in  the  tin,  solder  the  two  together 
securely,  using  as  little  solder  as  possible. 
Place  the  soldering-iron  (or  tinman's  bolt,  as  it 
should  be  more  properly  called)  in  a  clear  fire, 
being  careful  not  to  let  it  remain  until  a  green 
flame  appears,  as  this  indicates  the  iron  to  be 
burning  ;  that  is  to  say,  the  copper,  as  a  solder- 
ing iron,  is  in  reality  made  of  copper.  Should 
the  copper,  through  inadvertence,  burn,  it  will 


cause  a  crust  of  copper  oxide  to  form,  thus 
preventing  the  proper  adherence  of  the  solder. 
When  the  bolt  is  sufficiently  heated,  remove  it 
from  the  fire,  and  give  it  a  wipe  with  a  rag,  in 
order  to  clear  off  any  loose  ashes  afterwards, 
filing  the  end  until  quite  bright ;  then  wet 
the  cloth  with  soldering  fluid  (made  by  dis- 
solving zinc  to  saturation  in  hydrochloric  acid), 
and  again  give  the  end  of  the  bolt  a  wipe  with 
this.  The  tinning  solder  (which  is  sold  by  all 
ironmongers  in  the  form  of  thin  strips)  is 
now  rubbed  on  the  end  of  the  bolt,  to  which 
some  of  it  will  adhere,  thus  tinning  it  ready  for 
use.  If  it  is  not  made  too  hot  afterwards  the 
bolt  will  retain  its  face  for  some  time  without 
again  requiring  tinning.  Having  carefully 
cleaned  both  surfaces  of  the  tin  to  be  joined, 
hold  them  together  securely,  and  draw  some 
soldering  fluid  round  the  proposed  join  by  means 
of  a  thin  slip  of  wood,  or  a  feather ;  then  drop 
a  small  piece  of  solder  on  it,  and  immediately 
apply  the  heated  bolt,  drawing  the  latter  steadily 
and  rapidly  round  the  joint  as  soon  as  the  solder 
begins  to  flow.  If  this  is  carefully  done,  the 
solder  on  the  join  will  unite  with  the  tinned  end 
of  the  bolt,  enabling  the  latter  to  take  the  solder 
round  in  one  unbroken  line. 

When  the  steam-pipe  (a,  Fig.  1)  has  been 
successfully  soldered,  the  next  proceeding  will 
be  to  cut  a  hole  in  the  lid,  and  solder  a  rim  of 
tin  round  it,  thus  forming  a  neck  to  take  the 
glass  tube  and  cork  (Fig.  5),  after  which  the  lid 
is  securely  soldered  on  to  the  body  of  the  tin. 

Having  made  the  still,  or  boiler,  we  must 
next  direct  our  attention  to  the  condenser,  which 
is  shown  in  Fig.  2,  the  dotted  lines  indicating 
the  interior  arrangement.  A  hole,  nearly  an 
inch  in  diameter,  is  punched  in  the  side  of  this, 
at  about  an  inch  from  the  top  (see  b,  Fig.  2),  and 
a  piece  of  tin,  2  inches  in  length,  is  bent  round  a 
pencil  and  soldered  into  the  opening  thus  made, 
in  a  similar  manner  to  that  previously  described  ; 
a  hole  is  next  punched  through  the  bottom  of 
the  tin,  through  which  the  funnel  end  of  the 
steam  cylinder  (Fig.  6)  is  passed,  and  soldered 
as  shown  in  Fig.  2,  at  c,  another  hole  being 
made  near  the  top  of  the  tin  for  the  reception  of 
the  steam  pipe  (d,  Fig.  2)  which  is  also  soldered 
in  position.     "When  this  has  been  done,  the  lid 


136 


HOW  TO  MAKE  A   PHOTOGRAPHIC  STILL. 


of  the  tin  is  taken,  and  a  hole  is  punched  through 
it  at  about  half  an  inch  from  one  side,  into  which 
the  glass  safety  funnel  is  fixed  by  means  of  a 
stout  cork,  as  shown  in  Fig.  4.  The  lid,  which 
will  not  require  soldering,  is  now  placed  on  the 
top  of  the  condenser,  as  will  be  seen  in  Fig.  2, 
after  which  this  portion  of  the  still  may  be 
placed  aside  while  the  furnace  (Fig.  3)  is 
being  made.  An  opening  about  three  inches  in 
diameter  is  made  in  the  bottom  of  this  tin,  and 
several  holes  are 
punched  all  round 
the  upper  portion 
of  it.  The  24-inch 
length  of  strap 
iron  is  then  cut 
into  three  equal 
portions,  and  11' 
inches  of  each  por- 
tion is  bent  up  to 
right  angles,  and 
a  small  rivet  hole 
is  drilled  through 
each  of  the  longer 
bends,  at  about 
half  an  inch  from 
the  angle.  When 
these  three  pieces 
are  ready,  slits  are 
made  through  the 
side  of  the  tin 
at  about  an  inch 
from  the  bottom, 
and  equal  dis- 
tances apart,  into  which  the  shorter  bent  por- 
tion of  the  iron  supports  can  be  inserted,  a 
small  copper  rivet,  brought  through  the  tin  into 
the  hole  in  the  support,  serving  to  secure  the 
latter  in  position.  It  will  thus  be  seen  that  the 
1^-ineh  portion  of  the  support,  which  projects 
within  the  furnace,  will  serve  as  a  rest  for 
the  still  or  boiler.  Fig.  7  is  a  plan  of  the 
inside  of  the  furnace,  showing  the  position  of 
the  above  supports,  the  circle  in  the  centre 
indicating  the  opening  in  the  bottom  of  the 
furnace  to  admit  the  flame  from  the  Bunsen 
burner,  which  is  thus  brought  to  play  direct 
upon  the  bottom  of  the  still. 

In  order  that  the  reader  may  not  be  put  to 


any  unnecessary  expense,  a  plan  will  now  be 
described  whereby  the  reader  may  readily  make 
a  good  Bunsen  burner  suitable  for  this  purpose. 
A  sufficient  length  of  stout  brass  wire  is  wound 
in  a  spiral  fashion  round  a  stick  of  small 
diameter,  and  is  afterwards  made  to  fit  over  an 
ordinary  gas-burner,  the  wire  being  drawn 
apart  near  the  lower  part  for  the  purpose  of 
admitting  the  air,  which  by  mingling  with  the 
gas  causes  the  latter  to  burn  with  a  smokeless 

flame  at  the  upper 
end  of  the  spiral. 
Beference  to  Fig.  8 
will  help  to  ex- 
plain this  simple 
contrivance. 

The  apparatus 
being  by  this  time 
completed,  is  ready 
for  immediate  use, 
and  may  be  put 
in  action  in  the 
following  manner. 
It  will  be  found 
convenient  to  pro- 
vide a  box  on 
which  to  place  the 
still  when  in  use, 
and  in  which  it  can 
be  put  when  not 
required.  Assum- 
ing this  plan  to  be 
adopted,  lay  the 
box  on  its  side,  lid 
downwards,  as  shown  in  Fig,  9,  and  bore  a  hole 
through  the  right-hand  end  of  the  upper  side, 
of  sufficient  size  to  admit  the  funnel  of  the 
steam  cylinder;  then  place  the  condenser  in 
position  upon  the  top  of  the  box,  and  insert 
the  funnel  through  this  opening,  afterwards 
locating  the  furnace  close  to  the  condenser,  with 
the  still  or  boiler  inside,  and  resting  upon  the 
projecting  portions  of  the  supporting  legs  of  the 
latter.  The  steam  pipes  from  the  boiler  and 
condenser  are  now  fitted  one  over  the  other,  and 
the  joint  made  steam  tight,  by  means  of  a  piece 
of  india-rubber  tubing,  after  which  a  gas  jet,  with 
the  spiral  Bunsen  burner  fitted  to  it,  is  located 
in  a  suitable  position  beneath  the  opening  in 


MODEL   RAILWAY  BUILDING. 


137 


the  furnace.  The  glass  tube  and  cork  (Fig.  5) 
are  now  removed  from  the  boiler,  in  order 
to  enable  the  latter  to  be  little  more  than 
half  filled  with  water,  the  tube  being  after- 
wards replaced  and  left  quite  tight.  The  lid 
of  the  condenser  is  then  removed,  and  the 
latter  half  filled  with  cold  water,  after  which  a 
bottle  is  placed  in  the  box  beneath  the  funnel, 
and  the  gas  is  lit.  The  steam  passes  from  the 
boiler  of  the  still  into  the  steam  cylinder  of  the 
condenser  by  way  of  the  pipes  (a  and  d,  Figs.  1 
and  2),  when,  by  reason  of  the  cold  water 
surrounding  the  cylinder,  the  steam  is  condensed, 
and  the  distillate  escapes  by  means  of  the  pipe 
c  (Fig.  2)  into  the  bottle,  placed  in  the  box 
beneath  to  receive  it.  Fresh  cold  water  shoidd 
occasionally  be  poured  through  the  funnel  into 
the  condenser;  this  reaches  the  bottom,  and 
gradually  ascending  replaces  the  water  which 
has  become  warm,  which  may  now  be  drawn  off 
by  means  of  the  pipe  b  (Fig.  2). 

It  is  unnecessary  to  bring  the  water  to  a  full 
boiling  point,  as  this  is  apt  to  cause  globules  of 
undistilled  water  to  be  projected  up  to  a  sufficient 
height  to  mix  with  the  vapour  passing  into  the 
steam  cylinder  of  the  condenser.  If  the  boiler 
were  to  be  filled  with  water,  it  would  not  leave 
sufficient  room  for  the  steam,  hence  the  use  of 
the  glass  tube  (Fig.  5),  which  may  be  used  as  a 
pipette  for  ascertaining  the  height  of  the  water. 
By  placing  the  finger  over  the  orifice  of  the 
latter,  and  then  withdrawing  it  from  the  still, 
it  will  show  the  operator  by  the  height  of  the 
water  in  the  tube  the  height  of  the  liquid 
contained  in  the  still.  Then,  again,  if  the  water 
should  have  fallen  below  the  tube — which,  by  the 
way,  should  be  about  an  inch  from  the  bottom — 
steam  will  be  seen  to  issue  from  the  orifice  of 
the  glass  tube,  thus  indicating  the  small  amount 
of  water  contained  in  the  boiler.  It  is  always 
advisable  to  reject  the  first  and  last  half  a  pint 
of  water  which  passes  over.  The  boiler  of  the 
still  can  readily  be  cleaned  by  removing  the 
glass  tube  and  inserting  a  bottle-brush  through 
the  opening.  When  distillation  is  ended  for 
the  day,  the  still  should  be  taken  to  pieces, 
cleaned  and  dried,  and  put  away  ready  for  the 
next  time  ;  a  strict  observance  of  this  precaution 
will   prevent   it    from    becoming    rusty.      The 


steam  cylinder  of  the  condenser  may  with 
advantage  be  made  of  copper,  as  this  metal, 
unlike  the  ordinary  tin  plate,  will  not  rust. 
The  still  can,  of  course,  be  made  much  larger  or 
smaller  as  desired,  all  the  measurements  being 
kept  proportionate. 


MODEL  RAILWAY  BUILDING. 

(PEEMANENT    WAY.) 
By  W.  E.   J.  GAWTBORP. 


I. — Introduction -Making  Wheels— Foundation  fok 
Permanent  Way— Plan  of  Station  Lines. 

NE  of  the  most  interesting  occupations 
one  can  indulge  in  is  that  of  toy 
making  ;  and  this  may  be  most  truly 
said  of  making  the  more  scientific  toys.  We 
venture  to  think  that  a  model  railway,  one  even 
that  has  no  mechanical  motive  power,  may  be 
fairly  classed  under  this  head.  And  who  knows 
but  that  the  interest  excited  in  a  boy's  mind  by 
such  a  model  may  take  such  deep  root  that  some 
day  he  may  turn  out  to  be  a  great  engineer, 
railway  inventor,  or  contractor.  Was  it  not 
George  Stephenson  who,  in  his  boyhood,  spent 
his  spare  minutes  in  making  model  pile-drivers 
and  cranes  ?  One  thing,  at  least,  is  certain, 
such  an  occupation  will  awaken  his  powers  of 
observation. 

It  is  a  remarkable  fact,  that  although  railway 
locomotives  are  such  very  common  objects,  few 
people,  even  among  those  who  profess  knowledge 
of  drawing,  are  able  to  sketch  one  that  is  any- 
thing like  correct,  simply  because  they  do  not 
use  their  powers  of  observation.  In  proof  of 
this  statement,  one  has  only  to  look  at  the 
drawings  on  furniture  vans — vulgarly  known 
as  "Noah's  Arks" — or  at  excursion  and  coal 
advertisements,  in  which  the  drawings  would 
not  even  be  complimentary  to  the  engines  of 
twenty  or  thirty  years  ago.  We  have  even  seen 
in  good  periodicals  instructions  for  making 
cardboard  engines,  the  copies  for  which  have 
been  equally  incorrect. 

There  are  three  points  of  continual  advance 

in  engine  building  that  are  usually  overlooked, 

viz.,  the  driving  wheels  are  larger,  the  body  and 

tender  are  higher,  and  the  funnel  shorter  than 

vol.  in.  (n.s.) — M 


138 


MODEL  RAILWAY  BUILDING. 


of  old.  On  some  railways  the  centre  dome  is 
done  away  with,  and  the  front  set  of  wheels  are 
affixed  to  a  "bogie,"  or  pivoted  truck,  attached 
to  the  framework,  and  usually  projecting  con- 
siderably in  front.  Of  course,  on  different  lines 
the  types  of  rolling  stock,  gauges  of  lines, 
signals,  etc.,  vary  considerably,  and  therefore  it 
were  best  for  the  amateur  builder  not  to  follow 
too  strictly  the  plans  illustrated  and  described 
in  these  articles,  but  to  observe  for  himself  those 
best  within  his  reach,  so  that  he  may  constantly 
have  real  models  to 
work  to. 

Then  again,  how  few 
understand  the  working 
of  even  the  simplest  form 
of  signals.     Here  it  may 
be    stated,    though    re- 
ferred to   again   in  the 
description    of    signals, 
that    the     arm 
affecting        the 
progress     of     a 
train  is   always 
on  the  left-hand 
side  of  the  post, 


places  some  distance  from  the  home  signal,  so 
that  the  driver  may  see  the  state  of  the  latter 
before  he  reaches  it. 

The  shunts  and  their  working  are  also  im- 
portant, and  but  little  understood  ;  matters  which 
we  will  enter  into  more  fully  in  the  chapters 
immediately  following. 

In  these  articles  it    is    presumed    that    the 
amateur  possesses  a  lathe,  and  a  fair  knowledge 
of  its  use,  is  equal  to  soft  soldering,  and  fitted 
out  with  a  chest  of  generally  useful  tools.     Of 
course,  the  more  skilled 
amateur     may     readily 
improve  his  model  by  the 
greater  use  of  the  lathe, 
and      by      substituting 
metal  in  place  of  card  or 
wood ;    but    as    we   are 
writing     to     assist    the 
novice,      and     not     the 
skilled       work- 
man,    we     will 
leave  the  latter 
to  his  own   de- 
vices,   and    en- 
deavour even  to 


j: 


F  I  G 


as  viewed  from  the  engine  in  question,  and 
always  has  its  red  side  facing  the  driver.  No 
matter  how  many  arms  may  be  on  a  post, 
this  is  the  invariable  rule.  It  does  not  follow 
that  the  posts  always  stand  on  one  side  of  the 
line,  because  they  are  usually  placed  in  the 
position  most  readily  seen  from  the  engine. 
There  are  two  kinds  of  signals — besides  the 
subsidiary  ones  for  shunting  and  for  light 
engines,  which  are  usually  denoted  by  an  iron 
ring  on  the  arm,  or  which  are  simply  reversible 
pedestal  lamps — viz.,  "distant"  and  "home" 
signals.  The  home  signal  is  that  which  regu- 
lates the  traffic,  and  the  distant  signal  is  its 
counterpart,  often    used  on    curves  and  other 


bring  our  work  down  to  the  level  of  those 
who  have  not  access  to  a  lathe,  but  who 
are  trying  to  do  the  most  with  a  few  simple 
tools.  Although  to  suit  such  we  may  substitute 
cardboard  for  turned  wood  and  metal,  we  fear 
that  we  are  not  so  likely  to  be  successful  without 
soft  soldering ;  this  is,  however,  so  simple  that 
most  workers  have  a  knowledge  of  it,  and  a 
little  practice  will  soon  make  perfect. 

Without  further  introductory  remarks,  let  us 
now,  with  a  full  understanding  of  what  we  are 
about  to  undertake,  commence  in  real  earnest 
the  practical  building  of  a  model  railway.  Our 
advice  is,  begin  with  the  wheels,  and  then  we 
have  a  fixed  size  to  fit  our  rails  to.     The  width 


MODEL   RAILWAY  BUILDING. 


139 


apart  from  flange  to  flange  will  set  the  propor- 
tions for  every  part  of  the  road  and  rolling- 
stock;  so  let  the  reader  choose  for  himself  what 
dimensions  he  intends  to  work  to,  and  in  this 
choice  he  must  he  regulated  somewhat  by  the 
space  at  his  disposal.  The  drawings  herewith 
are  not  intended  to  he  followed  in  respect  of 
size,  as  that  must  he  settled  by  the  chosen  gauge 
of  the  wheels,  nor  are  these  drawings  made  to 
the  same  scale,  owing  to  the  great  size  repre- 
sented in  some,  while  others  are  intended  to 
illustrate  the  smaller  details. 

Anyone  who  has  seen  the  railway  repairing 
sheds  or  works,  will  have  noticed  that  the  wheels 
are  made  in  pairs,  united  by  one  axle,  and  that 
in  many  cases  the  wheels  are  solid,  not  having 
spokes|( excepting  the  larger  wheels  for  engines). 
Now  let  the  owner  of  the  lathe  turn  in  boxwood 
a  pattern  pair  of  wheels,  similar  to  the  drawing 
(Fig.  1),  noticing  that  the  flat  face  which  runs 
upon  the  line  should  not  be  absolutely  parallel 
with  the  centre   line   running  throughout  the 
axle,  but  slightly  at  an  angle,  forming  parts  of 
two  cones,  the  points  of  which  would  be  out- 
ward.    The  flanges,  too,  should  slope  slightly 
away  from  the  line,  so  as  not  to  catch  against 
its  edge,  or  bind  tightly  between  the  rails,  and 
also  so  as  to  leave  the  sand  in  casting.     This 
pattern  will  do  for  all  the  small  wheels,  both  of 
engines  and  carriages.     The  driving,  or  large 
engine  wheels,  may  be  made  in  the  same  form, 
but  about  twice  the  size.     It  would  do  very  well 
to  use  boxwood  for  the  finished  wheels,  but  as 
the  under  side  of  the  rolling  stock   should  be 
heaviest,   it  is  better  to  make  them  of   metal. 
Therefore,  send  these  two  patterns  to  a  brass- 
founder,   and    order    the    required    number  of 
each  in  "  fine  "  brass,  for  which  he  will  charge 
about  one  shilling  and  sixpence  per  pound.     In 
turning  the  pattern  for  casting,  it  is  well  not  to 
turn    the    uprights   too    straight,  but    slightly 
eloping  from  centre  to  edge,  in  order  to  leave 
the  sand  more  easily,  and  thus  produce  cleaner 
castings.     "When  these  castings   arrive,  file  off 
any  extra  roughness,  then  chuck  one  wheel  in  the 
lathe,  and  centre  the  other.     Turn  this  pair  up 
clean  and  smooth,  and,  if  you  like,  hollow  out 
the  face  of  the  wheels,  leaving  a  square-edged 
tyre  all  round,  and  a  centre  axle-tree.     This  is 


not  necessary,  and  must  not  be  done  in  the  wood 
pattern,  or  the  founder  will  have  to  piece-mould 
it  at  much  extra  cost.  Now  make  a  very  careful 
template  of  this  wheel  in  a  piece  of  stout  zinc 
or  brass,  as  Fig.  2,  and  turn  all  the  other  wheels 
to  fit  accurately.  Treat  the  large  castings  in 
the  same  way  as  the  small,  bearing  in  mind  that 
the  thickness  and  the  distance  between  the 
flanges  (inclusive  of  the  thickness  of  both 
flanges)  must  be  exactly  the  same  in  large  and 
small ;  in  fact,  the  template  of  the  small  one 
should  precisely  fit  the  large  one  as  far  as  it 
will  go  on. 

To  those  who  cannot  use  a  lathe,  we  say  do  not 
despair  at  the  outset;  it  is  quite  possible  to  make 
the  wheels  without  one.  Take  a  pair  of  strong 
dividers  (with  a  set  screw  if  possible),  sharpen 
one  leg  into  a  cutting  point,  and  with  this  cut 
out  of  stout  card  enough  discs  to  make  up  the 
required  thickness  of  a  wheel ;  then  cut  one 
slightly  larger  for  the  flange.  Faste  these 
together,  and  keep  under  pressure  until  quite 
dry,  taking  care  to  lay  all  the  discs  exactly  centre 
to  centre,  which  is  easily  accomplished  by  passing 
a  pin  through  the  centres.  Cut  the  axles,  which 
must  all  be  exactly  the  same  length,  out  of 
smooth  round  wood,  such  as  paint  -  brush 
handles,  and  pin  and  glue  the  wheels  on  to 
each  end,  the  flanges  being  inside.  These 
should  represent  the  drawing  for  the  metal 
wheel  as  nearly  as  possible,  and  should  also  be 
worked  to  the  template.  The  edges  of  the  wheels, 
when  dry,  can  be  smoothed  up  with  a  smooth 
file.  Thus  it  will  be  seen  that  the  wheels  can  be 
made  out  of  metal,  wood,  or  card,  either  with 
the  most  elaborate  or  the  simplest  tools.  Should 
the  worker  desire  to  ornament  the  wheels,  he 
can  drill  holes  at  intervals  between  the  tyre  and 
axle-tree,  and  file  out  to  the  shape  of  spokes,  or 
he  may  produce  the  same  effect  with  paint ;  but 
we  think,  except  in  the  case  of  large  wheels, 
this  is  quite  unnecessary,  especially  as  the 
heavier  the  wheels  the  better. 

Those  who  are  proposing  to  make  a  set  of 
rails  to  suit  purchased  steam  engines  or  models 
they  already  possess,  must  begin  by  making 
the  gauge  (Fig.  2),  and  see  that  all  the  wheels 
fit  it  just  as  well  as  if  they  were  making 
the  wheels. 


140 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


The  wheels  now  completed,  form  the  gauge  to 
regulate  the  width  of  the  lines,  or  permanent 
way ;  but  we  must  first  find  or  make  something 
on  which  to  lay  the  metals.  The  simplest  plan 
is  to  obtain  a  three-quarter  board,  planed  on  one 
side,  and  make  three  or  four  pairs  of  legs  out  of 
about  three  by  three  quartering,  attaching  these 
at  intervals  according  to  the  length  of  the  board ; 
or  this  board  may  be  affixed  against  a  wall  by 
means  of  common  iron  brackets,  to  be  purchased 
at  any  ironmongers,  just  as  a  shelf  is  erected. 
The  width  of  the  board  may  be  supplemented 
by  the  addition  of  pieces  of  three-quarter  wood 
battened  underneath,  to  allow  of  extra  sidings 
at  stations  or  ends.  On  the  planed  face  of  this 
board  draw  out  a  plan  of  the  lines  as  they  are 
intended  to  be  laid. 

Fig.  3  is  a  suggestion  for  the  plan  of 
one  end  of  the  line,  in  which  two  roads  are 
doubled  with  platforms  between  and  connected 
across  the  end,  four  sets  of  end  buffers,  a  short 
branch  line  for  a  standing  engine  with 
turntable,  and  the  necessary  connecting  points. 
On  this  plan  it  will  be  seen  that  a  train  coming 
into  the  station  is  able  to  go  on  to  any  one  of  the 
four  lines,  and  that  a  train  leaving  from  any  of 
the  four  is  also  able  to  go  on  to  the  correct  line  ; 
for,  remember,  trains  almost  invariably  travel  on 
the  left  of  any  pair  of  rails.  This  is  the  rule, 
but  there  are  exceptions,  generally  caused  by 
later  additions  or  difficult  crossings.  In  this 
case  a  train  would  leave  by  the  line  nearest  the 
turntable,  and  arrive  by  that  farthest  from  the 
turntable.  The  other  terminus  can  be  the  same 
completely  reversed,  or  it  can  have  less  or  more 
lines,  according  to  the  fancy  of  the  builder. 
There  may  be  intermediate  stations,  each  of 
which  should  have  a  single  shunt  running  in  the 
opposite  direction  to  the  trains,  as  will  be  seen 
later  in  Fig.  8,  the  arrows  indicating  the  direc- 
tion of  the  trains  traversing  those  lines.  The 
reason  for  this  is  that  when  a  train  is  running 
fast,  facing-points  are  somewhat  dangerous,  and 
are  therefore  avoided  as  much  as  possible.  Of 
course,  in  the  case  of  a  branch  line,  facing- 
points  are  necessary,  and  there  they  are  generally 
protected  by  an  automatic  mechanical  apparatus, 
which  is  not  only  unnecessary  in  this  model,  but 
extremely  difficult  to  make. 


THE  MAGIC  LANTERN :   HOW  TO 
MAKE  AND  USE  IT. 

WITH   FULL   INSTEUCTIONS  FOE 
MAKING  A   £50   OUTFIT   FOE   £5. 

By   IF.  A.  ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 


III. — Fitting  the  Condensers— Carriers- 
Lens  Tubes. 

SHIS  AVING  procured   the   lenses,  we   will 

proceed   to   fit  the    condensers    into 

tubes  made  of  tin  or  other  metal ;  a 

piece  of  brass  tube  being  very  suitable.     Solder 

a  flange  on  the  one  side  with  screw  holes,  so 

that  it  may  be  secured  to  the  inside  of  the  body 

(see  Figs.  10  and  11).     It  should  be  quite  flush 

with  the  outside,  and  the  lens  must  fit  properly, 

so  that  it  may  be  taken  out  and  cleaned. 

The  slide  holder,  or  rather  the  slide  carrier 
holder,  as  the  slides  are  always  in  a  carrier  or 
frame  of  some  sort,  comes  next.  The  most 
expensive  slides  are  mounted  in  a  wood  frame  or 
carrier  of  their  own;  this  protects  them  from 
being  broken,  but  this  makes  them  very  heavy, 
and  if  you  have  many  they  would  be  out  of  the 
question  ;  at  any  rate,  we  want  the  ordinary 
carrier,  for  we  shall  be  sure  to  have  some  slides 
unframed,  the  ordinary  size  of  which  is  Z\ 
inches  in  the  circle  of  the  picture,  and  Z\  inches 
square  outside,  so  we  want  two  pieces  of  very 
thin  wood  secured  together  top  and  bottom,  open 
at  the  ends,  and  with  a  3J-inch  hole  in  the  centre 
(see  Figs  12  and  13). 

Now  to  return  to  the  fronts.  We  next  proceed 
to  make  an  arrangement  to  hold  the  carrier,  and 
it  is  done  by  putting  two  pieces  of  wood  together 
as  before,  but  it  must  be  stronger  and  better 
made  ;  it  must  also  have  something  to  hold  the 
slide  holder  fast  and  firm,  and  guides  to  raise 
or  lower  it,  not  forgetting  a  screw  to  tilt  it  so  as 
to  get  all  the  pictures  to  coincide  on  the  screen 
when  dissolving. 

Cut  two  pieces  of  good  but  thin  wood  (fret- 
wood  will  do  very  well)  6  inches  square,  with 
fret-saw  holes  in  the  centre  4  inches  diameter ; 
secure  these  together  top  and  bottom  with  wood 
1    inch    square    in    section  ;    get    a  piece    of 


THE  MAGIC  LANTERN:  HOW  TO  MAKE   AND    USE  IT. 


141 


planished  sheet  brass  ^  inch  in  thickness,  cut  a 
hole  with  the  fret-saw  to  correspond  with  the 
woodwork,  polish  well  with  pumice-stone  and 
water,  and  finish  it  with  slate,  then  figure  it  all 
over  by  rubbing,  with  a  circular  motion,  with  a 


hole  in  the  square  brass,  where  it  must  be  well 
secured  either  by  soldering  or  rivetting,  or  both. 
To  make  a  neat  job,  it  should  have  a  collar  to 
butt  against  (see  Fig.  14). 

The  square  plate  is  secured  to  the  wood  with 


bit  of  ordinary  slate  pencil  cut  to  a  chisel  point. 
With  a  little  taste  and  patience  you  will  make  a 
nice  job  of  this. 

Now  get  four  mandrel  tubes  made,  one  to  fit 
inside  the  other,  the  largest  one  to  fit  into  the 


round-beaded  brass  screws,  and  must  have  a 
hole  in  each  corner  for  the  guides  of  the  plate 
that  holds  the  sUde  carrier  in  position  ;  this  is 
also  made  of  metal,  to  fit  inside  with  a  hole  as 
before.  It  should  project  on  each  side,  say  £ 
inch,  and  the  ends  should  be  rounded  to  the 
front  to  allow  the  carrier  to  slip  in  and  out  (Fig. 
15).  The  guides  are  screwed  at  the  ends,  and 
fitted  with  thumb-nuts  for  adjustment  (Fig.  16) ; 
a  spring,  top  and  bottom,  to  push  it  up  against 
the  carrier — a  bit  of  American  clock  main- 
spring, which  can  be  got  at  any  watchmaker's 
for  the  asking,  and  bent  into  the  shape  shown 
in  Fig.  16. 


142 


HOW  TO  MAKE-UP  FOR   THE  STAGE. 


The  guide  for  height  of  carrier  is  a  little  brass 
piece,  to  rise  and  fall,  and  secured  with  a  milled 
nut  (see  Fig.  17). 

In  order  to  adjust  the  three  sets  of  lenses  to 
one  centre  we  must  have  a  screwed  piece  of 
brass  fixed  on  the  lantern,  and  a  large  milled 
nut  to  run  on  the  screw,  which  also  work  on  a 
plate  secured  to  the  top  of  the  fronts  (see  Figs. 
18  and  19). 

The  front  lenses  must  now  be  fitted  into  the 
smallest  tube.  Some  lenses  are  sold  with  a 
screwed  brass  ring  for  the  purpose  of  soldering 
into  the  tube,  which  is  much  the  best  way  of 
doing  it. 

The  fronts  are  now  finished,  and  only  require 
lacquering,  for  particulars  of  which  see  later  on. 


HOW    TO    MAKE-UP    FOR 
THE    STAGE. 

By  PROFESSOR  LIONEL  ARTEVR. 


VIII.—  Making-up  for  Various  Characters— Low 
Comedy  and  Character  Parts,  Lawyers,  Country 
Lad,  Soldiers,  Sailors,  etc.— Death,  Wan  and 
Sallow  Complexions,   Dark  Complexions. 

HI  WILL  now  proceed  to  give  some 
concise  but  plain  instructions  for 
making-up  the  various  low  comedy 
and  character  parts,  following  on  with  some 
directions  for  reproducing  the  types  of  make-up 
incidental  to  the  different  nationalities  of  the 
world.  These  will  no  doubt  prove  useful  to 
many  people  who  are  in  the  habit  of  "  getting 
up "  characters  and  tableaux  vivants,  besides 
being  of  great  service  to  the  actor. 

Comic  Old  Men.  —  This  class  of  character 
includes  such  parts  as  policemen,  beadles, 
costermongers,  stablemen,  dog-fanciers,  publi- 
cans, countrymen,  villagers,  prize-fighters,  and 
many  others.  Prepare  the  face  for  these  charac- 
ters by  covering  it  with  a  thin  layer  of  No.  2| 
medium  flesh  colour,  heighten  up  the  cheeks, 
nose,  etc.,  with  No.  3^  or  No.  4  flesh  colour, 
also  apply  a  little  to  the  centre  of  the  forehead 
and  over  the  eyebrows.  The  lines  must  be  put 
in  according  to  the  age  it  is  desired  the  character 


should  represent,  following  out  the  directions 
previously  given  for  this  purpose.  The  wigs 
that  are  mostly  in  use  for  these  characters  are 
the  bald,  half  bald,  curly,  and  scratch,  and  they 
may  be  either  black,  white,  red,  grey,  or  iron- 
grey,  as  desired.  In  certain  characters  whiskers 
are  also  worn. 

If  you  wish  to  represent  a  family  lawyer,  a 
class  of  character  often  seen  upon  the  stage,  the 
face  should  be  made  slightly  pale,  and  a  half 
bald,  black,  or  iron  grey  wig  and  whiskers  at 
side  should  be  worn.  The  eyes  should  be 
bushy,  and  the  lines  on  the  face  so  intro- 
duced as  to  give  the  face  a  serious  or  thought- 
ful appearance. 

For  a  country  lad,  a  sailor,  or  soldier,  or  for 
any  character  where  the  face  is  supposed  to 
have  been  exposed  to  the  heat  of  a  tropical 
climate,  it  is  best  to  use  ruddy  rouge.  Firstly, 
powder  the  face  and  neck  with  fuller's  earth, 
and  then  apply  a  slight  coating  of  ruddy  rouge 
or  pure  carmine  all  over  the  face  and  throat ; 
this  will  impart  a  healthy,  sunburnt  complexion. 
Next  put  lines  under  the  eyebrows,  and  some- 
what boldly  over  the  rest  of  face,  determining 
the  quantity  by  the  age  of  the  character  ;  using 
No.  11  or  12  grease  paint  for  this  purpose,  or  if 
water  colour,  burnt  umber  or  Indian  ink.  The 
lines  in  these  characters  require  to  be  somewhat 
heavily  drawn  and  with  a  deep  colour,  otherwise 
they  are  lost,  or,  at  least,  lose  much  of  their 
force,  especially  in  a  large  hall  or  theatre.  The 
eyebrows  require  touching  up,  and  a  little 
powdered  blue  applied  to  the  chin,  throat,  and 
sides  of  face.  Lastly,  put  on  the  wig,  and 
powder  the  face  slightly  with  fuller's  earth,  to 
tone  down  any  harsh  colouring,  and  the  make- 
up is  about  complete. 

The  very  opposite  to  these  characters — pale, 
wan,  or  sallow  complexions,  representative  of 
illness,  bad  health,  result  of  a  fast  town  life, 
and  death  are  made  up  as  follows  : — For  death, 
powder  the  face  well  with  fuller's  earth,  and 
apply  powdered  Dutch  pink,  or  smear  the  face 
slightly  with  No.  5  or  5J  grease  paint.  Apply 
with  a  small  piece  of  cotton  wool,  attached  to  a 
brush  handle,  some  powdered  antimony  under 
the  eyebrows,  beneath  the  eyes,  and  in  the 
hollows.  .  With  a  dab  of  cotton  wool  or  a  hare's- 


A   FOLDING  MUSIC  STAND. 


143 


foot  applj-  some  of  the  antimony  to  the  hollows 
of  the  cheeks  or  temples,  throat,  and  chin ;  also 
slightly  shade  the  sides  of  the  nose  and  in 
between  the  eyebrows.  A  little  chrome  shoidd 
be  put  on  the  front  of  the  nose,  the  eyelids,  and 
the  nostrils ;  the  hollow  portions  of  the  face 
must  be  clearly  denned  with  burnt  umber  or 
No.  10  grease  paint.  The  lines  about  the  eyes, 
mouth,  etc.,  must  be  put  in  according  to  the  age 
of  the  character,  and  the  whole  make-up 
softened  off  with  pearl  powder.  For  death,  the 
lips  should  be  tinted  with  powdered  blue  or 
grease  paint.  A  pale,  wan  complexion  is 
obtained  by  giving  the  face  a  thin  coat  of  No. 
5§  grease  paint,  and  putting  a  very  faint  touch 
of  No.  3  complexion  colour  on  the  cheeks  and 
eyelids.  Shade  the  cheeks  slightly  with  No.  6, 
and  define  the  hollows  of  the  eyes,  eyebrows, 
and  cheeks  with  No.  7  colour.  A  sallow,  pale 
complexion  is  similarly  made  up,  using  instead 
No.  5  grease  paint.  A  few  touches  of  colour 
may  be  introduced  under  the  eyes,  and  lines 
painted  beneath  the  lower  eyelashes.  The 
treatment  of  dark  or  olive  complexions,  as  used 
in  such  characters  as  the  Moor  of  Venice,  the 
Count  Karateff,  etc.,  require  some  care,  great 
pains  being  taken  not  to  overdo  the  make-up, 
and  thus  obtaining  a  comical  appearance  where 
one  is  not  wanted.  If  the  make-up  is  a  dry 
or  powdered  one,  ruddy  rouge  with  which 
is  mixed  some  Dutch  pink  must  be  used,  and 
the  cheeks  highly  coloured  with  carmine  in  order 
to  throw  up  the  expression  ;  a  strong  line  must 
be  introduced  under  the  eyelashes.  The  eye- 
brows, moustaches,  etc.,  must  be  black,  and  the 
usual  lines  introduced  to  indicate  the  age  of  the 
character.  The  chin  should  receive  a  little 
powder  blue.  If  grease  paints  are  used  for  the 
make-up — and  these  are  best  for  the  characters 
— employ  No.  15  for  the  complexion,  not  over- 
doing it,  the  colour  heightened  with  carmine, 
and  the  chin  touched  up  with  the  blue  lining 
stick. 

The  Jew  is  not  by  any  means  an  unknown 
character  upon  the  stage,  and  in  such  parts 
the  actor  has  splendid  scope  to  exhibit  his 
skill  in  the  art  of  making-up  ;  this,  however,  is 
such  an  important  subject,  that  it  had  best  be 
treated  a  little  later  on. 


A  FOLDING  MUSIC  STAND. 

SPECIALLY  DESIGNED  FOE  "AMATEUB 
WOEK." 

By  JAMES  SCOTT. 


OLDING!  folding!!  folding!!!  With 
a  melancholy  ring  these  words  are  for 
ever  hovering  around  me;  and  as  I 
sit  with  paper,  pen,  and  ink  before  me,  I  am 
within  measurable  distance  of  summoning  up 
contempt  and  discarding  my  labour,  and  trying 
to  fold  the  paper  round  the  ink-pot,  and  fold 
the  pen  inside  these,  and  then  fold  the  lot  into 
a  thimble.  But  I  am  prevented  from  doing  so 
by  the  contemplation  that  all  attempts  at  such 
procedure  would  result  in  an  impossibility. 
Therefore,  I  will  do  my  best  to  continue  peace- 
fully, and  smile  placidly  as  I  set  forth  the  out- 
come of  my  endeavours  which  has  received  the 
title  at  the  beginning  of  this  paper. 

I  am  frequently  designing  articles  of  a  folding 
character,  and  readers  of  this  magazine  will 
receive  something  new  now  and  again  in  this 
direction. 

A  letter  was  handed  to  me  lately  by  the  Editor, 
with  an  intimation  that  I  should  allow  it  to 
receive  my  careful  consideration.  The  com- 
munication was  from  a  reader  of  this  magazine, 
who  stated  that  he  wished  for  a  design  of  a 
music  stand  which  would  be  capable  of  being 
folded  into  the  compass  of  a  rod  or  walking-stick. 
Now,  before  I  proceed  further,  I  consider  I 
ought  to  mention,  for  the  benefit  of  any  of  my 
readers  whom  it  may  concern,  that  an  article  of 
such  a  description  is  to  be  had  from  a  gentleman 
in  the  Haymarket,  London.  This  is  Mr.  Butler, 
musical  instrument  maker  and  contractor  to  the 
War  Department,  who,  I  understand,  forwards 
particulars  to  applicants. 

The  stand,  however,  has  but  a  single  upright, 
and  is  made  of  iron.  The  lower  portion  of  it 
cannot  be  more  appropriately  defined  than  by 
comparing  it,  when  folded,  to  a  closed  umbrella 
with  three  ribs  ;  and,  when  open,  to  an  umbrella 
inside  out.  Many  amateurs  will,  therefore, 
prefer  a  wooden  article;  so  I  will  help  them 
towards  making  one.  Of  course,  it  is  utterly 
impossible  to  please  everybody,  either  together 


144 


A   FOLDING  MUSIC  STAND. 


or  in  succession ;  and  I  dare  say  many  will  not 
care  for  my  design.  In  devising  anything — 
no  matter  what  it  may  be — it  nearly  always 
happens  that  either  appearance  is  forced  to  give 
way  to  utility,  or 
utility  to  appear- 
ance. The  present 
article  makes  no 
pretensions  to  ap- 
pearance —  it  is 
only  useful ;  which 
fact  will  be  under- 
stood by  a  refer- 
ence to  Figs.  1 
and  2,  which  show 
the  stand  open 
and  closed,  re- 
spectively. 

Its  folding 
quality  will  in  no 
way  be  a  source  of 
weakness,  if  it  is 
made  as  it  should 
be ;  and  I  believe 
that  the  present 
earnest  amateur  is 
a  workman  of 
tolerably  skilful 
capabilities. 

I  hope  I  shall 
not  create  disap- 
pointment in  any 
reader  by  deciding 
not  to  mention  any 
sizes  to  build  this 
stand  to  ;  this  part 
must  be  left  to  the 
amateur  himself — 
not  because  I  am 
indolent  in  this 
respect,  but  be- 
cause giving  sizes 
may  not  be  suitable  in  every  direction.  If,  after 
having  read  my  remarks,  anyone  finds  it  difficult 
to  arrive  at  any  conclusions  regarding  dimen- 
sions, I  will  assist  him,  in  so  far  as  my  judg- 
ment will  advise,  if  he  will  be  good  enough  to 
tell  me  his  height,  and  what  instrument  he  is  in 
the  habit  of  tortur no;    playing.      Please 


FIG.  I.- 
FIG.  2.- 


remember,  however,  that  thousands  of  persons 
read  this  magazine,  and  that  I  should  hardly 
relish  thousands  of  such  applications.  Very 
few  would  need  my  help ;    but  there  may  be 

some  young  be- 
ginners among  us, 
and  it  is  for  these 
whom  I  speak.  A 
simple  way  to  dis- 
cover what  sizes 
are  most  useful  for 
adoption,  is  to 
fasten  a  large 
sheet  of  white 
paper  against  the 
wall,  from  the 
floor  upwards.  A 
very  small  amount 
of  skill  is  needed 
to  roughly  indicate 
uprights,  cross 
rails,  and  music 
frame ;  and  the 
sketch  may  be  re- 
peatedly altered 
until  certain  pro- 
portions are  finally 
decided  upon.  In 
this  manner  the 
most  preferable 
thicknesses  and 
widths  for  all  parts 
can  be  chosen.  I 
shall  say  no  more, 
then,  in  this  di- 
rection. 

In  folding  the 
stand,  the  uprights 
are  closed  together 
by  the  cross  rails 
being  pushed  up- 
wards in  the 
middle,  when  the  music  frame  will  collapse  into 
a  single  length  over  the  uprights,  and  the  feet 
are  then  folded  upwards ;  when  all  will  appear 
as  in  Fig.  2. 

I  will  deal  with  the  uprights  first.  It  must 
be  obvious  to  all  that  a  greater  probability 
exists  of  more  strength  being  obtained  by  the 


-STAND    EXTENDED    READY    FOR  USE. 
-STAND    FOLDED    TO    PACK    INTO    CASE. 


A   FOLDING  MUSIC  STAND. 


145 


use  of  two  than  would  be  the  case  by  utilising 
only  one.  The  width  between  these  uprights 
will  decide  the  length  of  the  cross  rails.  Each 
of  the  latter  will  be  divided  into  two  equal  parts, 


be   slightly   rounded  to   permit   of   their    free 
working. 

If  it  is   considered  by  some  to  be  at  all  a 
difficult  matter  to  fix  these  hinges,  an  alternative 


FiG  9. 


FIG5.  3,  4,  AND  5. —  ELEVATIONS  SHOWING  METHOD  OF  FOLDING  FRAME.  FIGS.  6,  7,  AND  8. — ELEVATIONS  SHOWING 
METHOD  OF  FOLDING  FEET.  FIGS.  9  AND  IO. —ALTERNATIVE  JOINT  FOR  UPRIGHTS  AND  CROSS  RAILS  RESPECTIVELY. 
FIG.  II.  —  SHOWING  HOW  UPRIGHTS  AND  CROSS  RAILS  ARE  FOLDED.  FIG.  12. — SIDE  ELEVATION  OF  FRAME,  ETC. 
FIGS.  13  AND  14. — BRASS  RING  TO  CONNECT  PAIR  OF  RAILS  ATTACHED  TO  FEET.  FIG.  15. — ALTERNATIVE  ADDITION 
FOR  MUSIC  FRAME.  FIGS.  16  AND  17. — BOLT  AT  BACK  OF  TOP  CROSS  RAIL  WHEN  LATTER  IS  FOLDED  AND  STRAIGHT 
RESPECTIVELY.      FIG.   18. — TOP  OF  THE  UPRIGHTS  WHEN  CLOSED  TOGETHER.      FIG.  19. — ONE  OF  THE  MUSIC  HOOKS. 


and  hinged  to  fold  upwards.  Each  half  will  fit 
flush  in  the  uprights  when  the  stand  is  closed, 
and  may  originally  be  cut  from  them.  The 
proper  ends  are  hinged  to  the  inside  of  the 
uprights,    and  the    end   edges   of  them  might 


method  will  be  that  shown  by  Figs.  9  and  10; 
the  ends  of  the  cross  rails  being  treated  as  there 
indicated  (Fig.  10),  and  being  secured  to  the 
uprights  by  having  a  small  pin  driven  through 
them  and  the  latter.    The  position  of  these  cross 


146 


A   FOLDING   MUSIC  STAND. 


rails,  and  the  distance  between  them,  is  not  a 
matter  of  great  importance ;  but  they  must  be 
as  far  apart  from  each  other  as  will  leave  a 
portion  of  each  upright  between  them.  It  will 
be  almost  useless  to  have  only  one  cross  rail,  as 
in  that  event  there  would  always  be  a  possibility 
of  the  tops  of  the  uprights  falling  towards  each 
other,  which  chance  is  entirely  obviated  by  the 
use  of  two  rails. 

Let  us  at  this  point  take  the  music  frame  into 
consideration.  There  will  be  a  top  and  a  bottom 
rail,  each  grooved  on  the  inside  to  a  good  depth. 
At  each  end  will  be  pivoted  to  these  a  bar,  of 
just  sufficient  thickness  as  will  fit  into  the 
grooves  previously  alluded  to.  On  the  other  side 
of  this  frame  will  be  pivoted,  across  the  middle, 
a  very  thin  brass  rail.  "When  all  is  folded,  this 
rail  will  show  upon  the  front  (Fig.  2).  It  is 
impossible  to  fit  the  frame  with  any  fretwork,  if 
all  is  to  fold  as  shown  ;  therefore,  I  considered 
that  the  brass  rail  would  be  an  acceptable  feature. 
But,  as  an  alternative,  a  separate  affair,  con- 
sisting of  two  brass  rails  pivoted  together  to 
fold,  could  be  utilised  (Fig.  15).  It  would  then 
fit  upon  small  pin-heads  in  the  front  of  the  frame, 
and  always  be  detachable. 

This  latter  part  would  be  the  only  piece 
which  would  necessarily  be  removable  from  the 
remainder. 

The  frame  should  be  hinged  to  a  rather  wide 
top  rail  of  the  same  length  as  itself.  This  rail 
is  shown  in  Figs.  3,  4,  and  5.  A  slot  will 
traverse  the  leDgth  of  it,  and  be  continued  at 
right  angles  at  the  right-hand  side  of  it.  The 
corner  thus  formed  within  the  slot  could  be 
rounded  off.  The  rail  must  be  exactly  equal  in 
width  to  the  width  of  the  two  uprights  com- 
bined ;  and  the  slot  in  it  must  be  at  a  distance 
of  one-quarter  of  its  width  from  the  top 
edge  of  it. 

A  pivot  will  pass  through  it  at  the  left-hand 
side,  and  one  at  the  right-hand  side,  respectively, 
into  the  top  of  the  left  and  right  uprights.  The 
latter  are  shown,  with  dots  indicating  the  pivots, 
in  Fig.  18. 

During  the  folding,  when  the  lower  parts  of 
the  stand  are  closed,  the  frame,  etc.,  will  appear 
as  in  Fig.  4 ;  when  it  will  be  allowed  to  fall 
downwards  on  the  left-hand  side,  by  means  of 


the  slotted  rail  working  over  the  pivots  in  the 
tops  of  the  uprights,  and  appear  as  in  Fig.  5. 
The  small  bend  of  the  slot  must  be  in  length 
the  same  as  the  distance  between  the  two 
pivots,  inclusive,  when  the  uprights  are  closed 
together. 

It  is  necessary  that  the  heads  of  the  pivots  on 
the  uprights  be  sunk  somewhat  below  the  sur- 
face of  the  slotted  rail,  unless  very  flat-headed 
ones  are  used ;  as  the  frame  proper  (Fig.  3) 
would  still  further  be  folded  over  the  front  of 
the  slotted  rail  (Fig.  2),  and  it  would  not  there 
lay  flat  if  the  heads  of  the  pivots  just  spoken 
of  projected  to  any  noticeable  degree. 

The  feet  are  awaiting  attention.  They  must 
not  be  thicker  than  the  top  slotted  rail.  It  is  by 
these  means  that  the  stand  can  be  made  adjust- 
able to  various  heights.  Glance  at  Figs.  6,  7, 
and  8  ;  there  it  can  be  seen  how  they  fold,  and 
how  they  are  hinged.  Two  thin  brass  rails  are 
pivoted  respectively  to  a  foot  in  each  pair,  and 
are  themselves  pivoted  together.  This  latter 
junction  is  not  directly  connected  with  the 
woodwork,  as  it  must  be  movable  up  and  down. 
I  am  not  very  well  acquainted  with  metal 
working,  but  a  simple  way  of  securing  these 
brass  rails  together  is  shown  in  Fig.  14.  A 
brass  ring,  slit  at  both  ends,  can  be  placed 
through  the  two  rails,  and  the  pieces  of  it 
hammered  over  on  to  them  (Fig.  13). 

Through  the  lower  portion  of  each  upright 
will  be  holes,  and  a  peg  passing  through  either 
of  them  and  the  hole  at  the  top  of  the  brass  side 
rails,  will  retain  the  feet  in  the  desired  position. 
The  longer  the  feet  are  the  higher  will  be  the 
stand  when  extended. 

All  that  is  left  now  are  the  hooks  to  keep 
the  frame  at  an  angle,  a  fastening  for  one  of 
the  cross-rails,  and  the  music  hooks.  Of  the 
former,  one  will  be  sufficient;  but  I  advise 
the  use  of  two — one  at  each  side— as  beiDg 
best.  They  must  not  be  very  thick,  and  should 
be  secured  to  the  uprights,  as  in  Fig.  12, 
catching  on  to  small  pin- heads  on  the  frame's 
side  rails.  The  length  of  these  hooks  will  decide 
the  angle  at  which  the  frame  may  be  fixed  to  ; 
and  if  three  or  four  pin-heads  are  driven  in 
the  frame,  the  latter  will  be  further  adjustable 
to  various  degrees. 


A   LEVER  ENGINE. 


147 


On  the  top  cross-rails,  between  the  uprights, 
should  be  a  fastening.  Its  use  is  not  absolutely 
necessary,  but  it  is  desirable.  A  small  bolt  will 
be  sufficient.  It  can  be  screwed  to  the  back  part 
of  the  rail.     Figs.  16  and  17  explain  this. 

For  the  music  hooks,  two  simple  pieces  of 
wire,  bent  as  in  Fig.  19,  and  rounded  at  the 
part  which  enters  the  wood,  will  be  sufficient. 

If  this  stand  is  constructed  properly,  it  will, 
when  opened,  be  in  every  respect  as  firm  and 
rigid  as  a  solidly  made  one,  and  will  be  capable 
of  removal  from  one  part  of  an  apartment  to 
another  in  this  form ;  and  when  folded,  it  will 
occupy  as  little  space  as  it  is  possible  to  squeeze 
anything  of  the  kind  into.  For  convenience,  it 
is  advisable  to  have  a  case  (similar  to  an  enlarged 
pencil  case)  to  pack  it  into  for  purposes  of 
transport  or  storage. 


A    LEVER    ENGINE. 

Bv  ELECTROX. 


EJP|JIIIS  engine  is  called  a  lever  engine,  on 
lUfl&Sfl  account  of  the  motion  of  the  piston 
atSSkH  rod  being  formed  by  two  levers 
connected  by  a  link.  Fig.  1  is  a  side  elevation 
of  the  engine  half  full  size,  it  being  taken  from 
a  model  1^-inch  bore,  and  3-inch  stroke.  The 
bedplate,  columns,  and  top  framing  may  be  of 
iron,  but  in  the  model  referred  to  they  were 
formed  of  wood.  Procure  a  base  board  14  inches 
long,  9  inches  wide,  and  l£  thick,  turn  four 
columns,  1  inch  diameter,  with  caps  and  bases 
as  shown,  also  form  at  each  end  tenons  1  inch 
long  and  f  inch  diameter.  Make  the  top 
framing  1  inch  deep,  and  1  inch  thick,  dove- 
tailed together — the  frame  may  be  3  inches  wide 
inside  ;  then  bore  four  holes  in  the  base  board, 
and  four  in  the  top  frame,  and  fix  the  columns 
with  glue,  and  pass  a  screw  up  from  the  under 
side  of  base  board  into  each  column,  and  one 
from  the  top  side  of  frame  into  each  column. 
Make  the  moulding  -f  inch  thick,  mitre  the 
corners,  and  fix  it  by  glue  and  screws  ;  this  will 
form  a  good  strong  framing. 

The  cylinder  is  1^-inch  bore  and  3-inch  stroke, 
and  is    made   in    the    same  manner    as   that 


described  for  beam  engine  in  Vol.  II.  of 
Amateur  "Work,  page  530. 

The  fly-wheel  shaft  is  \  inch  diameter  inside 
the  bearings,  the  ends  being  turned  down  to 
f  inch,  leaving  a  shoulder  inside  the  bearings. 
The  bearings  are  of  cast  iron,  with  brasses  and 
covers  ;  the  bolts  for  holding  them  down  are 
carried  to  the  under  side  of  the  frame,  making 
them  stronger. 

The  fly-wheel  is  9  inches  diameter,  turned  and 
bored,  and  keyed  on  the  shaft,  to  run  in  the 
centre  of  framing. 

The  crank  may  be  wrought  or  cast  iron, 
turned  and  keyed  on  the  end  of  shaft  with  a  pin 
f  inch  long,  for  connecting  rod.  Fix  the 
bearings  in  the  centre  of  framing,  lay  shaft 
in,  and  plumb  from  the  centre  of  crank  pin, 
which  will  give  the  centre  of  cylinder,  and  can 
now  be  fixed  on  base  board.  The  piston  rod 
must  be  1  inch  longer  than  cylinder,  having  a 
cross  head  with  double  end,  into  which  the 
lower  end  of  connecting  rod  is  fixed,  as  shown  in 
Fig.  2  ;  the  top  end  of  connecting  rod  is  fitted 
with  strap  brasses,  gib,  and  cotter. 

The  levers  are  made  of  iron  plate  £  inch 
thick;  these  are  filed  up  to  shape,  and  kept 
apart  by  turned  pins,  which  may  be  fixed  by 
nuts,  or  riveted  at  the  outside,  as  shown  in 
Fig.  3.  Pins  for  the  links  must  be  riveted  in  at 
the  ends.  The  links  are  formed  with  three  sets 
of  brasses  in  each,  the  top  and  bottom  brasses 
being  split ;  two  pins  with  shoulders  are  fixed 
in  the  centre  to  keep  them  the  right  distance 
apart,  the  outside  rods  pass  through  holes  drilled 
in  the  brasses,  and  are  screwed  at  the  ends,  and 
fixed  by  nuts.  The  levers  are  fixed  to  bearings 
screwed  to  the  columns,  and  should  be  set  so 
that  they  are  in  a  horizontal  position  when  the 
engine  is  at  half  stroke  ;  the  centre  pins  should  ; 
when  in  this  position,  be  £  inch  past  the  centre 
of  piston  rod.  The  eccentric  sheave  has  a  boss 
formed  on  one  side,  and  is  made  to  slide  on  the 
shaft ;  a  slot  is  cut  in  the  boss,  and  a  pin  screwed 
into  the  shaft  works  in  the  slot,  and  carries  the 
sheave  round ;  the  slot  must  be  cut  so  that  when 
the  pin  is  at  one  end,  the  sheave  is  in  position 
for  working  the  engine  in  one  direction,  and 
when  at  the  other  end,  in  the  opposite  direction. 

The  eccentric  rod  is  connected  to  a  cranked 


148 


A   LEVER  ENGINE. 


lever,  as  shown  in  Fig.  4,  and  the  other  arm  of 
the  lever  is  connected  by  a  rod  to  a  lever  on  the 
rocking  shaft,  on  which  it  can  be  fixed  by  a 
notch  ;  a  handle  is  formed  on  the  end  of  the  rod 
to  lift  it  in  and  out  of  gear.     The  rocking  shaft 


it  into   position  for  working   in  that  direction, 
and  the  eccentric  rod  is  again  connected. 

The  frame,  columns,  and  parts  of  the  engine 
not  finished  bright  should  be  painted  to 
improve  their  appearance. 


FIG.4       Eccentric 
and     hand    gear 


F  IG.I  :  Side     ELlevaci 


F  I  .G  .  £  .    E.  n  d    u  i  ew 
if   linKS  &,  cross'nead. 


_L]fc_ 


fh 


~W 


f"  I  G .3      Plan    view    of 


works  the  slide  valve  by  a  lever  working  in  a 
square  slot  in  the  valve  spindle  ;  a  handle  is  also 
keyed  on  the  rocking  shaft,  and  by  means  of 
this  the  engine  is  reversed  when  the  eccentric 
rod  is  lifted  out  of  gear.  When  the  engine  is 
reversed  by  hand,  the  pin  moves  to  the  opposite 
end  of  the  slot  in  eccentric  sheave,  which  puts 


Engeavings  or  photographs  that  are  framed 
in  wood  up  to  the  edge  look  much  better  if  the 
frame  is  rather  flat  and  the  wood  is  stained  to 
harmonize  with  the  tones  of  the  picture.  A  silver 
or  bronze  beading  is  often  used  on  the  outside 
of  the  frame  instead  of  inside  next  the  picture. 
— Builder  and  Woodworker. 


"AMATEUR    IJ'ORA'"   PRIZE  SCHEME. 


149 


AMATEUR    WORK 

PRIZE    SCHEME. 

This  month  I  offer  the  following  prizes  for 
competition  : — 

VI.  VEVERS  A-PLATE  RAPID  RECTILINEAR 
LENS  with  detachable  hood  and  set  of  Waterhouse 
diaphragms  (the  lens  is  of  finest  workmanship  and 
finish,  and  guaranteed  perfect),  for  the  best  descrip- 
tion of  a  cheap  but  effective  PHOTOGRAPHIC 
STUDIO  suitable  for  construction  by  an  Amateur. 
Details  of  oost  must  be  given,  and  the  MS.  must 
be  illustrated  by  drawings  either  to  scale  or  with 
dimensions  marked.  Attention  is  called  to  Rule  2. 
TIL  A  BURNISHER  WITH  9-INCH  ROLLER  and 
BUNSEN  BURNER,  COMPLETE,  for  the 
best  set  of  three  PLATINOTYPE  PRINTS. 
Particulars  of  the  process  used  must  accompany 
each  set.  The  prints  must  be  mounted,  and  the 
name  and  address  of  competitor  written  on  the 
back  of  each.  Competitors  requiring  the  return  of 
their  prints  must  enclose  a  stamped  and  addressed 
labeL 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fidt  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  MS.  must  be  written  on  one  side  only  of  the  paper, 
and  drawings  must  be  on  separate  paper.  Each 
sheet  of  MS.  or  drawings  to  have  the  name  and 
address  of  the  competitor  clearly  written  on  the 
back.  The  Publishers  reserve  the  right  to  publish 
any  MS. 

(3).  All  articles  in  this  competition  must  be  sent  in  not  later 
than  February  27th,  carriage  paid,  and  addressed — 
The  Editor  op  Amateur  Work,  Warwick  House, 
Salisbury  Square,  London,  E.C. 

(4).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(5).  The  decision  of  the  Editor  shall  be  final. 


RESULTS  OF  COMPETITIONS. 

I.,  II.,  AND  III. 


I.   A  Prize  or  One  Guinea  for  the  best  written  Paper 

DESCRIBING  THE  CONSTRUCTION  OF  ANY  ARTICLE  OF 
W       ...VOEK    OTHER    THAN     FRETWORK. — Mr.     W.     H. 

Eradburne,  Church  Stretton.  Salop,  takes  the  prize 
with  a  well  written  paper  entitled  "  Easy  Con- 
struction of  an  Architectural  Arm-chair."      Other 


competitors  who  deserve  honourable  mention  are 
Mr.  S.  P.  Smithin,  who  contributes  a  good  article — 
"Self-acting  Fountain  and  Flower  Stand";  Mr.  R. 
Mills  Hankin,  "  Artistic  Picture  Frames  made  from 
Corks";  Mr.  H.  W.  Sehofield,  "How  to  Utilize 
Lantern  Transparencies."  These  papers  will  be 
published  in  due  course. 
II.  A  Prize  of  One  Guinea  for  the  best  Print  from  a 
Half-plate  View  Negative.  —  Amateur  photo- 
graphers are  to  be  congratulated  upon  the  high 
class  of  work  sent  iu  for  this  competition,  and  it 
says  much  for  the  winner  of  the  prize  that  his 
exhibit  of  four  prints — (1)  Fishing  Cottage  on 
the  River  Colne  ;  (2)  The  Thames  at  Richmond  ; 

(3)  Ruined  Weir  on  River  Colne,  at  West  Drayton ; 

(4)  View  on  the  River  Colne,  Huntsmore  Park — 
stands  out  in  front  of  all  others.  The  artist  is 
Mr.  H.  Judson,  Ivy  Cottage,  Cowley,  near  Uxbridge, 
Middlesex ;  and  his  work  leaves  nothing  to  be 
desired,  either  from  an  artistic  or  technical  point 
of  view.  He  supplies  the  following  particulars : — 
"All  the  four  views  were  taken  with  Lancaster's 
Rectigraph  lens  on  Ilford  ordinary  plates,  and 
printed  on  Leisgang's  Aristotype,  toned  with 
Fallowfield's  combined  toning  and  fixing  bath. 
No.  1  was  taken  with  F.20 ;  exposure  1  second  in 
bright  sunshine,  at  11.40  a.m.  on  October  1 2th  ; 
developed  with  hydroquinone,  Ilford  formula. 
No.  2,  F.30 ;  exposure  1 J  seconds  in  very  bright 
sunshine,  at  1.25  p.m.  on  September  8th  ;  developer 
as  last.  No.  3,  F.20.  ;  exposure  1  second  in  bright 
sunshine,  at  12.15  p.m.  on  October  12th  ;  developer 
as  last.  No.  4,  F.20  ;  exposure  j  second  in  bright 
sunshine,  at  11  a.m.  on  July  19;  developed  with 
hydroquinone,  Payne's  formula. 

I  have  selected  some  of  the  best  work  for  brief  notice, 
and  give  the  names  in  their  order  of  merit.  Mr. 
Arthur  A.  Moncrieff  sends  a  fine  print,  "On  the 
Basingstoke  Canal,"  from  a  negative  developed  with 
hydroquinone,  and  printed  on  Ilford  bromide 
paper  developed  with  ferrous  oxalate.  Mr.  T.  E. 
Hill  exhibits  two  pictures :  "  View  of  Levesdeu 
Woods,  Herts,"  and  a  view  at  Watford,  the  former 
being  particularly  good.  Mr.  F.  S.  Morton  sends 
some  good  work  from  America  ;  the  printing, 
mounting,  and  burnishing  in  this  case  are  much 
above  the  average.  Mr.  T.  Powers  contributes  a 
snow  scene.  This  has  been  produced  from  an 
excellent  negative,  but  a  better  result  would  have 
been  attained  by  printing  on  a  matt  surface  paper, 
and  a  colder  tone  would  be  an  improvement.  The 
sky  should  be  slightly  tinted,  as  in  a  scene  of  this 
kind  the  snow  itself  should  be  the  highest  light. 
Mr.  F.  J.  A.  Shaw  has  made  a  good  attempt  at  a 
difficult  subject:  "  Nant  Falls,  Fairy  Glen."  A 
little  more  exposure  would  have  made  this  a  most 
artistic  picture. 


150 


NOTES  ON  NOVELTIES. 


III.  A  Prize  of  One  Guinea  fob  the  best  Specimen  of 
Fretcutting. — The  wort  sent  in  for  this  competition 
was  eo  uniformly  good  that  great  difficulty  was 
experienced  in  awarding  the  prize.  It  was  finally 
decided  to  divide  the  award  between  Miss  Yates, 
Finedon,  S.  Mary  Church,  Torquay,  and  Mr.  James 
W.  Partridge,  Alvechurch,  Redditeh,  whoBe  exhibits 
were  of  equally  high  merit.  Next  in  order  come 
the  contributions  of  Mr.  J.  Blake,  "  Cuthbert," 
Messrs.  Jno.  Wilkie,  R.  F.  Seccombe,  Jas.  Aitchison 
and  Denham  Franklin.  Several  of  the  competitors 
have  suggested  that  in  future  competitions  of  this 
class  the  same  design  should  be  used  by  all  com- 
petitors, as  giving  a  better  opportunity  of  judging 
the  respective  merits  of  the  workmanship.  This 
suggestion  is  a  good  one,  seeing  that  the  prize  is 
awarded  for  excellence  of  work  rather  than  of 
design,  and  shall  have  attention  in  the  next  fretwork 
competition. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


HE  CABINET  WORKER'S  HANDYBOOK. 
By  Paul  N.  Hasluck.  Published  by  Crosby 
Lockwood  and  Son,  at  2s. — This  work  is  the 
latest  addition  to  the  series  of  Handybooks 
for  Haudycrafts.  It  gives  information  on  the  tools  and 
processes  used  in  the  department  of  woodworking  known 
as  cabinet  work. 

Photography  for  Architects. — Iliffe  and  Son,  3,  6'.  Bride 
Street,  E.C.,  2s.  6d.  There  can  be  no  doubt  that  a 
knowledge  of  photography  is  of  decided  advantage  to 
architects  in  their  profession.  But  busy  men  cannot 
afford  time  to  explore  the  whole  field  of  photography 
until  they  find  the  process  most  suited  to  their  needs.  To 
such  this  little  work  is  recommended  as  dealing  concisely 
and  strictly  with  the  art  of  photographing  the  exterior  and 
interior  of  buildings.  The  frontispiece  is  not  a  happy 
illustration  of  the  best  work  in  this  direction. 

The  Building  and  Machine  Draughtsman  (Ward,  Lock 
and  Co.). — A  practical  guide  to  the  projection  and 
delineation  of  subjects  met  with  in  the  practice  of  the 
engineer,  machinist,  and  the  building  constructor,  with 
instructions  as  to  the  setting  out  of  machine  gearing, 
projection  of  shadows,  and  the  shading  and  colouring  of 
drawings.  This  work  forms  a  valuable  addition  to  the 
draughtsman's  text  books,  more  especially  as  it  brings 
together  into  one  work  information  that  has  frequently  to 
be  laboriously  sought  for  under  several  titles,  an  advantage 
that  will  be  readily  appreciated  by  the  student.  The 
special  point  that  attracts  the  notice  of  the  critical  reader 
is  the  extreme  minuteness  with  which  every  detail  is  treated, 
and  this,  in  conjunction  with  the  large  number  of  illus- 
trations, makes  the   work  a  thoroughly  practical  guide  to, 


and  instructor  in  the  important  department  of  technical 
education  of  which  it  treats.  The  illustrations  are  con- 
tained on  18  folding  sheets  and  155  illustrations  in 
the  text. 

Tool  Catalogue.— The  John  Wilkinson  Co.,  269  and  271, 
State  Street,  Chicago,  Illinois,  send  me  an  excellent  cata- 
logue, containing  ninety-six  pages,  fully  illustrated, 
describing  machines,  tools,  and  materials  needed  by 
amateurs  in  all  branches  of  mechanical  work.  I  notice 
several  matters  that  are  not  included  in  our  English 
catalogues,  and  I  can  strongly  recommend  this  list  to  my 
American  readers. 

Fretwork  Designs. — Messrs.  Henry  Zilles  and  Co.,  24 
and  26,  Wilson  Street,  Finsbury,  London,  B.C.,  have  just 
published  a  book  of  twenty-four  easy  designs  for  beginners. 
These  patterns  cannot  fail  to  give  satisfaction,  since  they 
are  not  only  easy  of  execution,  but  (what  does  not  always 
follow)  are  artistic.  I  have  seen  designs  with  much  more 
cutting  in  them  that  have  not  been  nearly  so  effective. 
The  price  of  the  book  being  2s.,  makes  the  cost  of  each 
design  one  penny. 

The  Amateur :  Messrs.  Henry  Zilles  and  Co.,  24  and  26, 
Wilson  Street,  Finsbury,  London,  E.C..  Price  6d.— The 
January  part  of  this  favourite  magazine  for  fretworkers  iB. 
a  particularly  good  number.  It  contains  two  folding  sheets 
of  excellent  designs  in  fretwork  and  carving. 

Electricity  in  Every-day  Life.  By  Frank  B.  Lea,  B.A., 
Assoc.  Inst.  El.  E.  Published  by  E.  W.  Allen,  4,  Ave 
Maria  Lane,  E.C.  Price  2d.— An  interesting  little  pamphlet 
describing  and  illustrating  most  of  the  practical  uses  to 
which  electricity  has  been  applied. 

The  Watkins  Exposure  Metre. — The  inventor  says  of  this 
instrument  that  it  "  is  something  more  than  a  mere  guide 
for  beginners  ;  it  is  an  accurate  and  exact  calculator  which 
is  far  more  reliable  than  the  estimate  of  even  the  most 
experienced  photographer,  when  treating  of  difficult 
subjects."  It  is  a  combination  of  a  bromide  of  silver 
actinometer,  a  chain  pendulum  for  timing  exposure,  and  a 
set  of  calculating  rings,  each  carrying  a  pointer,  which, 
when  set  to  the  correct  value  for  each  factor,  causes  a  fifth 
pointer  to  indicate  the  correct  exposure  in  seconds  or  frac- 
tions of  a  second.  I  had  an  opportunity  of  testing  this 
instrument  on  one  or  two  occasions  at  the  end  of  last 
Beason,  and  obtained  some  very  exact  exposures.  It  is 
supplied  by  all  dealers,  price  12s.  6d. ;  or  by  post   12s.  9.1. 

Engineers'  Tools.— Mr.  J.  E.  Leeson,  Engineer,  Scien- 
tific and  Philosophical  Instrument  Maker,  Chapel  Street, 
Levenshulme,  Manchester,  sends  me  specimens  of  his 
goods,  which  are  well  worth  notice;  but  as  I  have  not 
sufficient  space  here  to  do  them  justice,  I  must  defer  a 
more  complete  notice  until  next  month:  A  very  handy 
drilling  attachment  for  slide  rest,  which  he  supplies  at  the 
moderate  price  of  12s.  6d. ;  a  hinge  tap,  non-leaking  pocket 
oil-can,  which  will  prove  a  great  boon  to  bicyclists  ;  also 
adjustable  wrenches  for  screw  taps. 


AMATEURS  IN  COUNCIL. 


151 


AMATEURS  IN   COUNCIL. 


OPEX   TO   ALL   HEADERS. 


Photographic  Difficulties. 

" Camera"  writes: — May  I  trouble 
you  to  give  me  a  helping  band  ?  I  was 
an  enthusiastic  photographer  in  the 
days  of  wet  plates,  but  circumstances 
compelled  me  to  give  up  entirely  just 
as  dry  plates  were  coming  in.  I  a*m 
just  now  in  a  position  to  go  back  to  my 
old  hobby,  but  things  have  changed. 
The  "wet''  and  "dry"  seem  to  have 
nothing  in  common,  and  my  old  ex- 
perience is  nothing  to  go  by.  My  first 
attempts  are  ghastly  failures,  and  the 
worst  of  it  is,  I  don't  know  where  I 
have  failed.  I  therefore  send  you  my 
first  four  negatives,  and  will  ask  you 
for  a  little  advice.  The  day  on  which  they 
were  taken  was  about  as  bad  as  could 
be :  thick  cloud,  some  fog,  and  very 
dull  generally.  The  subject,  of  course( 
is  nothing,  as  I  am  experimenting  at 
present  for  exposure  and  development. 
The  "  artistic "  comes  on  presently. 
No.  1,  my  first  plate,  I  gave  4  different 
exposures,  viz. :  4  seconds,  9  seconds, 
15  seconds,  20  seconds.  Result  —  a 
dense  fog  on  all  4  sections  of  the 
plate.  Nos.  2  and  3,  2  seconds  and  7 
seconds ;  and  the  joke  of  it  is  that  I 
don't  know  which  had  which  !  But  any 
way,  they  are  no  good.  What  is  the 
matter  ?  No.  4,  interior,  34.  minutes. 
This  negative  appears  printable,  but 
looks  to  me  as  if  it  was  fogged.  Is  it  ? 
I  know  I  am. 

All  the  above  were  taken  at  the  same 
time,  with  F.  16,  and  developed  with 
the  same  developer.  Plates,  Ilford 
ordinary  ;  developer,  Oldham's  dry 
powder  developer. 

I  ilon't  want  the  negatives  back,  thank 
you  !  My  dark  room  is  lighted  through 
one  thickness  of  ruby  fabric  and  one  of 
canary.  Is  this  enough?  I  am  using 
Lancaster's  J-plate  Instantograph.  It 
would  be  a  great  boon  if  someone  would 
prepare  specimen  sets  of  negatives, 
thus :  one  correctly  exposed  and  de- 
veloped ;  one  under-exposed  and  over- 
developed ;  one  over-exposed  and  over- 
developed. Is  there  any  use  in  asking 
some  friendly  disposed  reader  to  do 
this  act  of  charity  ? 

[Many  beginners  experience  the  same 
difficulty  as   yourself   in  not  knowing 


the  causes  of  first  failures,  and  in  such 
cases  the  assistance  of  an  experienced 
hand  is  invaluable.  I  sent  on  your 
negatives  to  Mr.  R.  A.  R.  Bennett, 
President  of  the  Photographic  Section 
of  the  Oxford  Natural  History  Soctety, 
whose  reply  will  assist  you  and  others 
in  a  similar  predicament.  He  says  : — 
"  There  is  not  so  much  difference  as  all 
that  between  the  wet  and  the  dry 
process  in  photography  ;  the  chief  dif- 
ference, of  course,  is  the  rapidity  of 
the  dry  plates  as  compared  with  the 
wet  plates.  The  image  must  come  up 
very  slowly  ;  you  must  not  expect  to 
see  it  flash  out  all  at  once,  as  it  usually 
did  with  the  wet  process.  The  colour 
is  generally  yellower  than  with  the  wet 
process,  but  yellow  being  a  non-actinic 
colour,  this  does  not  interfere  with  the 
printing  of  the  negatives.  Now,  as  to 
the  negatives  sent :  No.  1  is  very  foggy 
all  through,  as  you  say  ;  you  ought  to 
have  tried  on  a  good  day  ;  if  you  had 
such  a  bad  day,  how  can  you  form  any 
ideas  from  the  results  ?  From  the 
general  aspect  of  No.  1,  it  looks  to  me 
exceedingly  probable  that  light  got  into 
the  camera,  or  the  dark-slide,  while  the 
plate  was  in  it.  You  must  carefully 
examine  the  camera,  for  a  minute  pin- 
hole would  be  fatal  to  the  more  rapid 
dry  plates.  No.  2  is  all  right,  only 
frightfully  under-exposed  and  under- 
developed. In  a  fog  the  exposure  is 
much  prolonged,  and  two  seconds  would 
not  be  enough  for  the  plates  you  used. 
No.  3  is  more  under-exposed  than  No.  2, 
and  more  under-developed.  No.  4  is 
all  right  where  it  is  right ;  it  is  not 
foggy  at  all,  and  with  a  plain  pyrogallic 
acid  developer  would  have  come  out 
enough  ;  as  it  is,  the  exposure  was  not 
nearly  sufficient  for  indoor  work.  The 
root  of  all  your  troubles  is  lack  of 
density,  which  is  due  either  to  the 
plates  or  to  your  mistakes  in  developing. 
The  plates  you  used  are  rather  apt  to 
give  this.  You  had  better  use  the  Ilford 
white  label  extra  rapid,  which  have 
much  more  silver  in  them,  or  Thomas's 
extra  rapid  plates.  You  did  not  de- 
velop long  enough,  evidently  ;  you  must 
go  on  until  you  can  see  no  picture  at 
all  on  the  plate,  nothing  but  a  black 
smudge  with  a  faint  outline  ;  and  when 
you  hold  it  up  to  the  red  light  before 
fixing,  you  should  not  be  able  to  see  at 
all  througb  the  densest  parts,  and  only 
faintly    through    the    thinnest    parts. 


Vou  should  use  a  developer  which  you 
can  mix  for  yourself,  such  as  Berkeley's 
sodic  sulphite  (which  is  best  for  all 
beginners),  or  any  formula  of  pyro  and 
ammonia.  The  developer  you  used 
for  these  plates  is  very  convenient  for 
travelling  when  you  have  done  plenty 
of  work,  but  not  good  to  begin  upon. 
You  will  find  plenty  of  good  formulae 
if  you  get  Burton's  '  Modern  Photo- 
graphy.' If  you  will  write  to  me, 
through  the  Editor,  I  shall  be  pleased 
to  give  you  some  more  assistance." — 
R.  A.  R.  Bennett.  ] 

How  to  make  a  Music  Stool. 
Jas.   Scott     writes — "That    Fig.    1 
(page    556,    November    Part)    is    not 


correctly    drawn,    and    should    be   as 
sketch  herewith." 

Inductorlum. 
"  F.  0. "  (  Birmingham).  —  With  all 
respect  to  "F.C.,"  I  think  if  he  had  read 
the  article  carefully  with  reference  to 
the  winding  of  the  wire  on  the  sections, 
he  would  not  have  needed  to  write,  and 
consequently  so  much  space  might  have 
been  occupied  by  other  matter.  At  the 
same  time,  it  is  always  a  pleasure  to 
help  one  to  understand  a  point.  I  may 
say,  however,  that  I  tried  to  make  the 
matter  plain.  "F.  C."  asks — "Should 
not  the  coil  be  reversed  first,  and  then 
the  pinhole  made  in  the  left  band  disc  ? 
I  shall  be  glad  if  you  will  kindly  inform 
me  if   I  am  right  on  the  article."     I 


152 


AMATEURS  IN  COUNCIL. 


must  refer  "  F.  C.  "  to  page  185,  Vol. 
VII.,  bottom  of  first  column.  I  there 
state  with  emphasis  that  when  the 
first  space  is  filled,  two  other  rings  and 
discs  must  be  placed,  one  on  each  side 
of  it ;  I  then  say — "  The  next  point  is  a 
matter  of  the  utmost  importance.  In 
replacing  the  tube  in  the  winder, 
reverse  the  ends  so  that  the  disc  that 
in  the  first  instance  was  at  the  left  is 
now  at  the  right."  It  seems  to  me 
nothing  can  be  plainer.  In  the  first 
place,  the  pinhole  is  at  the  left ;  you  fill 
the  space  and  reverse  it — what  was  the 
beginning  of  the  wire  is  now  at  the 
right — join  the  wire  to  the  projecting 
end,  and  wind  as  before.  Now  in  the 
disc  at  the  left  there  is  a  pinhole — pass 
the  wire  through  it,  and  wind ;  this 
outside  end  and  the  outer  end  of  the 
first  space  are  eventually  joined. 
Here,  then,  we  have  the  wire  on  the 
three  spaces  continuous,  our  joining 
being  at  the  top,  and  the  other  at  the 
bottom  of  the  division.  Two  other 
diBcs  must  now  be  put  on.  The  coil  is 
again  reversed,  and  again  the  left  hand 
division  must  be  begun  by  passing  the 
wire  through  a  pinhole  at  the  bottom. 
Now,  whether  the  pinhole  is  made 
before  or  after  the  disc  is  put  on,  as 
"  F.  C.'s"  inquiry  seems  to  ask,  matters 
nothing  on  principle,  though  it  is  much 
easier  to  make  it  before  it  is  put  in  its 
place. 

"  F.  C.  "  further  asks — "  Give  me 
rather  fuller  directions  for  winding  and 
joining."  On  page  182  there  is  the 
most  complete  directions  for  winding, 
and  in  the  Supplement  a  description  of 
a  winder.  Has  "F.  C."  read  these? 
To  repeat  would  be  simply  to  waste 
space.  As  for  the  method  for  joining 
the  wire,  I  have  been  at  the  trouble  of 
explaining  the  mode  twice  over  on  page 
183,  fourth  line  from  the  top  of  first 
column,  and  again,  sixteenth  line  from 
top  of  the  second  column.  I  trust  that 
these  hints  will  make  matters  clear. 
— 0.  B. 

"F.  0."  asks  if  soft  solder  is  used  in 
joining  the  secondary  wire.  As  resin  is 
mentioned,  it  seems  to  me  that  he  is  in 
doubt  if  I  intended  resin  only,  as  he 
says  "  resin  alone  would  not,  I  think, 
solder  copper  wires  together."  Cer- 
tainly not ;  besides,  it  would  not  be 
solder.  I  would  say  that  resin  is 
mentioned  specially  because  any  acid 
fiux,  such  as  muriate  of  zinc,  would  be 


in  danger  of  corroding  and  eating  the 
wire  away,  and  so  ultimately  causing  a 
break.  There  is  no  danger,  as  he 
fears,  that  the  heat  developed  by  the 
current  would  melt  the  solder.  If 
battery  power  was  to  be  used  sufficient 
to  melt  solder,  long  before  that  point 
was  reached  the  coil  would  break  down 
by  the  destruction  of  the  insulation. 

With  reference  to  the  miniature 
Khomkorff  coil,  "F.  C."  asks  if  the 
addition  of  2  or  3  ounces  of  wire  to  the 
coil  would  be  sufficient  to  "light  up 
the  large  size  vacuum  tubes."  Now,  as 
tubes  vary  in  size  from  3  inches  to  2  or 
3  feet,  the  question  is  somewhat  vague. 
Answering  the  question  in  a  general 
way,  I  would  say  that  a  coil  containing, 
say,  4  ounces  of  wire,  ought  to  light  up 
one  or  two  8-inch  coils. 

With  the  little  coil  referred  to  I  can 
light  up  one  tube  of  the  size  mentioned, 
using  one  cell  with  zinc  4  by  2  inches, 
and  2  carbons.  I  think  with  larger 
battery  power  I  could  light  up  two 
such  tubes  with  it.  I  built  the  coil 
with  great  care,  to  see  what  results 
could  be  obtained  with  a  given  quantity 
of  wire. 

If  "  F.  C."  wishes  to  make  a  coil 
UBing  2  or  3  ounces  more  wire  than  is 
there  given,  then  the  answers  to  his 
questions  will  be — (1)  Make  the  coil  1 
inch  longer.  (2)  Ends  £  inch  larger. 
(3)  Primary  wire  two  sizes  larger.  (4) 
Insulate  between  the  layers  most  care- 
fully ;  indeed,  towards  the  end  the 
insulation  should  be  doubled  between 
the  layers,  and  see  that  no  Bpaces  are 
left  in  one  layer  so  that  the  wire  of 
the  next  can  sink  between.  (5)  One  or 
two  cells  of,  say,  zincs  and  carbons  3 
by  4  inches.  These  quantities,  if  put 
together  with  care,  will  give  a  coil  to 
light  up  one  or  two  vacuum  tubes  from 
6  to  8  inches.— 0.  B. 

Projecting  Microscopic  Slides,  with  the 
Magic  Lantern. 

Magic  Lantern.  —  The  following 
simple  method  of  using  a  small  lantern 
and  inexpensive  microscope,  for  micro- 
scopic projection,  was  originally  de- 
scribed by  Geo.  M.  Hopkins,  an 
American  scientist,  and  will  no  doubt 
suit  your  'requirements.  The  lantern 
serves  as  the  illuminator,  the  microscope 
stands  as  a  support  for  the  object,  and 
the  eyepiece  of  the  microscope  as  a 
projecting   objective.     To   arrange    the 


microscope  for  projection,  the  focusing 
tube  is  withdrawn  from  its  guide  ;  the 
draw  tube  is  removed  from  the  focusing 
tube,  and  inserted  in  the  place  of  the 
latter,  after  being  wrapped  with  one  or 
two  pieces  of  paper  to  make  it  fit.  The 
eyepiece  is  now  inserted,  bottom  up,  in 
the  draw  tube,  that  is,  with  the  eye 
lens  nert  the  stage  of  the  microscope. 
The  tube  is  then  turned  down  into  a 
horizontal  position,  an  object  of  some 
kind  is  placed  on  the  stage,  and  the 
lantern  is  arranged  so  as  to  project  a 
bright  sharp  image  of  the  flame  upon 
the  back  of  the  object.  A  screen  of  white 
cardboard  is  placed  about  5  feet  distant 
from  the  microscope,  and  the  image  is 
focussed  by  sliding  the  draw  tube. 
The  room  in  which  the  microscope  is 
used  must  be  made  as  dark  as  possible. 
With  these  appliances,  ordinary  objects 
may  be  projected  so  as  to  be  easily 
visible  to  twelve  or  fifteen  persons. 
The  eyepiece  belonging  to  this  micro- 
scope is  of  the  negative  kind,  that  is. 
the  image  is  formed  between  the  eye  lens 
and  the  field  lens,  when  the  eyepiece  is 
used  in  the  regular  way.  Very  good 
results  may  be  secured  by  the  use  of  a 
single  lens.  Either  of  the  lenses  of  the 
eyepiece  may  be  used  by  removing  the 
other,  but  in  this  case  the  diaphragm 
must  be  taken  out  to  allow  the  full 
beam  of  light  to  pass.  The  objects  that 
may  be  shown  in  this  way  are  the 
larger  animalculaj  found  in  stagnant 
water,  parts  of  insects,  sections  of  wood, 
leaves,  etc.,  crystals,  feathers,  etc.  The 
objects  selected  should  be  as  thin  as 
possible,  and  if  unmouuted  should  be 
pressed  flat  between  two  glasses.  Some 
care  is  necessary  in  placing  the  micro- 
scope tube  and  lantern  tube  axially  in 
line.  It  is  necessary  to  support  the 
microscope  at  such  a  height  as  to  cause 
the  brightest  part  of  the  image  of  the 
flame  to  fall  upon  the  object.  With 
a  strong  light,  such  as  is  used  in  larger 
lanterns,  the  size  of  the  image  may  be 
greatly  increased. 

Mitre  Cutter. 
H.  I.  {Lisbon). — As  you  want  a 
machine  to  cut  a  moulding  larger  than 
4  inches,  I  would  advise  you  to  write 
to  B.  Melhuish  and  Son,  85  and,  87, 
Fetter  Lane,  London,  E.C.,  who  will,  if 
you  mention  this  reply,  send  you  an 
illustrated  price  list  of  all  the  mitre 
cutting  machines  in  the  market  that 
will  take  the  size  you  require. 


AMATEURS  IN  COUNCIL. 


1.33 


Marble  Top  and  Tiles  for  Washstand. 
B.  E.  (Portlaw,  Ireland.) — I  give 
below  some  names  and  addresses  of 
firms  who  manufacture  tiles,  etc.  I 
hare  not  received,  or  asked,  permission 
from  either  to  publish  such  ;  but  you 
will  remember,  as  I  previously  remarked, 
that  it  is  almost  useless  to  apply  to 
anyone  named  unless  a  trade  card  is  en- 
closed with  order,  I  can  recall  no  house 
who  retails  these  articles  separately 
and  as  distinct  goods ;  and  I  have 
sought  information  from  a  few  bedroom 
suite  manufacturing  acquaintances,  but 
with  a  lite  result.  I  do  not  wish  to 
delay  this  reply,  so  therefore  state  all  I 
know ;  but  if  you  will  write  to  me 
personally,  through  the  Editor  (with 
his  permission)  enclosing  a  stamp,  in 
order  that  the  letter  may  be  forwarded 
to  me,  I  will,  if  you  can  wait  a  week  or 
two,  make  further  inquiries  respecting 
both  wholesale  and  retail  houses,  and 
send  results,  if  any,  to  you  privately. 
Tou  must  understand  that  bedroom 
suite  makers  turn  out  their  goods  minus 
tiles  and  marbles,  which  latter  are 
fitted  by  the  dealer.  Several  firms, 
calling  themselves  makers,  exhibit  goods 
completely  finished  ;  but  in  ninety-nine 
cases  out  of  one  hundred  they  are  but 
dealers,  and  obtain  their  articles  as 
above  stated.  In  reference  to  marble 
tops,  you  might  write  to  Messrs.  F.  M. 
Benjamin  and  Co.,  119,  Old  Street, 
London  E.  C.  There  used  to  be  a  mason 
(his  name  has  slipped  my  memory) 
turn  out  a  lot  of  marble  tops  from 
Hewitt  Street,  Curtain  Road,  London, 
E.C.  This  address,  adding  "marble 
mason,"  will  be  sufficient  if  he  is  still 
there.  Messrs.  Godwin  and  Son, 
Lugwardine  Works,  Withington,  near 
Hereford  (tiles) ;  Messrs.  Mintons, 
Limited,  Walbrook,  London,  E.C,  and 
Stoke-on-Trent  (tiles).  Tou  should  also 
inquire  at  last  two  places  for  marble 
tops. — J.  S. 

Castings  for  Simple  Milling  Attach 
ment  to  Lathe. 
Robert  Tatlor. — It  is  some  time 
since  I  purchased  the  castings  referred 
to,  but  I  believe  they  were  supplied  by 
Mr.  Gladstone,  Engineer,  Stafford.  If 
Mr.  Taylor  is  unable  to  obtain  them,  I 
should  recommend  him  to  advertise  for 
a  5-incb  slide  rest,  as  I  have  often  seen 
them  offered  for  10s.  and  12s.  each. 
Only  the  top  slide  is  required.  — 
F.  J.  G. 


Chuck  for  Circular  Saw  and  Milling 
Cutter. 
W.  Aston  (Birmingham). — It  would 
be  very  difficult,  if  not  impossible,  to 
make  a  saw  spindle  which  would  take 
saws  having  centre  holes  of  different 
sizes.  The  best  plan  would  be  to  make 
all  the  holes  the  same  size,  and  have 
a  spindle  to  match.  These  milling 
cutters,  which  are  put  on  a  spindle  or 
mandrel  running  between  centres,  ought 
to  be  treated  in  the  same  way.  Others 
could  have  a  short  piece,  like  a  chucking 
piece,  attached  to  each,  by  which  it 
could  be  held  in  a  drill  chuck  or  self- 
centring  chuck.  I  intend  to  describe  a 
chuck,  in  the  present  series,  which  will 
take  twist  drills  of  various  sizes. 
Thanks  for  your  kind  wishes. — J.  L. 

DwYER. 

Leaded  Letters  in  Stone. 
No  Name. — I  do  not  know  of  any 
way  of  making  lead  letters  show  up  on 
a  tombstone ;  they  are  generally  used  in 
stones  of  a  character  that  shows  them 
up,  such  as  white  marble,  I  certainly 
should  not  attempt  to  whiten  the  stone 
I  would  rather  paint  the  letters.  As  a 
matter  of  fact,  lead  letters  never  do 
show  up  much,  and  I  take  it  the  only 
reason  they  are  used  is  because  they 
are  (practically)  imperishable. — L.  L. 

Organ  Building. 

A.  G.  Haywaed  (Burg  St.  Edmunds). 
It  would  be  impossible  to  say  what  is 
the  name  of  the  stop  you  have  made 
unless  you  say  the  size  of  the  largest 
stopped  pipe  and  the  diameter  of  the 
largest  open  pipe.  If  I  had  the  sound- 
board, I  should  make  the  back  part 
into  a  small  swell  organ,  placing  over 
the  sliders  a  salcional  8  feet,  and 
dulcet  principal  4  feet.  The  front 
three  I  should  convert  into  a  great 
organ,  containing  open  diapason  8  feet, 
gedact  8  feet,  and  stopped  flute  4  feet. 
In  the  event  of  the  swell  box  being  a 
drawback,  make  a  choir  organ  of  the 
back,  by  substituting  a  dulciana  for  the 
salcional,  and  changing  the  places  of 
the  flute  and  principal. 

The  scales  at  4  feet  c  would  be  open 
diapason  2}  inches,  gedact  (wood)  1J 
by  2  inches,  salcional  2J,  dulciana  2 
inches,  dulcet  principal  2^  inches, 
stopped  flute  (wood)  If  by  1 J  inches. 

I  shall  be  glad  to  answer  any  further 
queries  that  you  may  send. — Organ 
Builder. 


Preventing  Rust  on  Tools. 
An  Amateur  in  Difficulties  (Man- 
chester).— It  is  unfortunate  that  you 
are  compelled  to  use  so  damp  a  place 
for  a  workshop  ;  but  since  it  cannot  be 
helped,  you  must  take  all  the  pre- 
cautions you  can  to  avoid  rust.  Be  care- 
ful not  to  keep  any  of  your  tools  against 
a  wall.  Take  a  convenient  length  (say 
5  feet)  of  f-inch  board  ;  at  the  back  of 
this,  aud  across  ite  width,  nail  three 
strips  of  A-inch  wood,  one  at  each  end, 
and  one  in  the  centre.  Now  nail  the 
board  to  the  wall  above  your  bench ;  the 
strips  at  back  will  keep  it  off  the 
brickwork.  On  the  front  of  this  board 
make  a  rack  for  tl  e  tools.  Boiled 
linseed  oil  will  prevent  polished  tools 
from  rusting,  if  it  is  allowed  to  dry  on 
them.  The  following  mixture  is  also 
good  for  the  purpose : — -Dissolve  £  ounce 
of  camphor  in  1  pound  of  hog's  lard, 
take  off  the  scum,  and  mix  as  much 
black-lead  as  will  give  the  mixture  an 
iron  colour. 

Model  Boat- building  with  Planking. 

Ernest  Attwood.  —  This  article  ap- 
peared in  Part  23,  New  Series,  page 
494. 

Varnish  for  Pictures. 

Eoval. — Your  question  is  somewhat 
vague,  as  you  do  not  say  what  kind  of 
pictures  you  propose  to  varnish.  If  a 
print,  engraving,  or  map,  the  following! 
from  "  Workshop  Eeceipts,"  might  suit 
you.  (1.)  A  piece  of  plate  glass  is 
heated,  and  while  yet  warm  a  little  wax 
is  rubbed  over  it;  water  is  then  poured 
over  the  plate,  and  the  moistened 
picture  laid  thereon  and  pressed  closely 
down  by  means  of  a  piece  of  filtering 
paper.  When  dry  the  picture  is  re- 
moved, and  will  be  found  to  possess  a 
surface  of  great  brilliancy,  which  is  not 
injured  by  the  process  of  mounting. 
(2.)  Canada  balsam  and  clear  white 
resin,  of  each  6  ounces  ;  oil  of  turpen- 
tine, 1  quart ;  dissolve.  The  map  or 
engraving  must  previously  receive  one 
or  two  coats  of  gelatine. 

Cyclostyle  Ink. 
P.  B.  replies  to  Gulielmus  : — "  Dis- 
solve an  ounce  of  sugar-candy  in  a  pint 
and  a-half  of  good  black  ink.  Or  this  : 
Dissolve  half  an  ounce  of  gum  arabic 
and  twenty  grains  of  Spanish  liquorice 
in  thirteen  drachms  of  water  ;  add  to 
this  one  drachm  of  lampblack,  witli  a 
teaspoonful  of  sherry. 

VOL.    III.    (N.S.) — N 


154 


AMATEURS  IN  COUNCIL. 


Calico  Diagrams. 
E.  P.  C.  (Muswelt  Hill). — I  saw  some 
diagrams  at  a  lecture  which  were 
painted  on  silk,  and  very  flexible  ;  they 
were  all  fixed  to  a  roller,  at  the  lower 
end,  and  in  each  upper  corner  brass 
rings  were  fixed,  and  hung  on  nails  or 
hooks ;  as  each  was  finished  with,  the 
rings  were  lifted  off,  and  the  diagram 
fell  down,  leaving  the  next  one  ready. 
I  think  it  was  Indian  or  Chinese  silk. 
You  will  require  a  medium  to  prevent 
the  colours  from  running,  and  I  should 
think  artist's  colours  in  tubes  would  be 
best.  If  you  write  to  Winsor  and 
Newton,  or  Rowney  and  Sons,  they 
will  supply  you  with  medium  and 
colours  for  silk,  or  perhaps  for  calico. 
— Electron. 

Make  your  own  Magic  Lantern!   An 
Amateur's  Testimony. 

Experienced  Amateur  writes:  — 
"  As  an  amateur  I  should  much  like  to 
testify  to  the  practicability  of  the 
heading  in  tbe  December  issue,  "to 
make  a  .£50  lantern  for  £5."  Though 
only  an  amateur  possessing  an  ordinary 
(uot  slide)  lathe,  I  have  constructed  a 
limelight  bi-unial  4-inch  condenser 
lantern,  of  mahogany  body,  metal 
lined,  dead  black  interior,  solid  brass 
draw  out  fronts,  and  stages ;  japanned 
metal  top,  chimney,  and  cowl.  I  have 
also  made  a  brass  dissolver.  and  at  the 
outset  constructed  pressu-e  boards  for 
my  twill  gas  bag  ;  the  two  latter  I  have, 
however,  sold  at  a  handsome  profit, 
and  now  always  use,  by  preference,  the 
compressed  gas  direct  from  steel  cylin- 
ders. This  is  mentioned  in  the  hope 
that  it  may  be  some  encouragement  to 
other  amateur  manufacturers  to  try 
this  fascinating  work,  and  to  read,  like 
myself,  with  great  interest  the  papers 
now  appearing  on  the  subject." 

Finding  Employment. 
Miss  Howard. — Your  question,"  How 
to  find  employment  in  artistic  home 
work  1 "  is  one  that  is  constantly  asked, 
but  to  which  no  reply,  satisfactory  to 
the  querist,  can  ever  be  given.  In  tbe 
first  place,  I  have  no  means  of  knowing 
your  ability  in  "designing  for  wood- 
carving,  fretwork,  or  china  painting," 
and  upon  this,  in  a  great  measure, 
depends  your  chance  of  success.  Apart 
from  this,  it  is  purely  a  matter  of  supply 
and  demand,  in  which  the  former 
exceeds  the  latter  to  an  appalling  extent. 


In  wood-carving  and  fretwork  your 
chances  of  remunerative  work  are 
almost  nil.  In  the  case  of  china 
painting,  if  you  have  high  artistic 
ability,  and  a  technical  knowledge  of 
the  art,  you  would  stand  a  remote 
chance  of  inducing  some  of  the  leading 
firms,  such  as  Mintons,  Doultons, 
Minton  Hollins,  etc.,  to  take  up  your 
work  by  sending  specimens ;  but  such 
specimens  would  have  to  be  of  un- 
doubted ability,  and  such  as  to  com- 
mand attention.  You  no  doubt  know 
that  these  firms  employ  highly  paid 
artists  upon  their  own  premises. 

Safety  Crutch. 
P.  M.  McKie  writes  —  In  reply  to 
"Crutch"  (Glasgow), — "I  too  for  some 
years  was  obliged  to  use  crutches,  and 
I  used  leather  shoes  at  the  bottom  of 
each  crutch,  one  set  with  spikes  for 
winter  use,  and  one  without.  I  hope 
the  above  will  meet  the  wishes  of 
'  Crutch  ' ;  it  is  much  less  expensive 
than  his  plan." 


Crutc.'i 


Spike 


"Electron"  replies  to  "Crutch" 
{Glasgow). — You  might  try  indiarubber 
shoes  for  the  end  of  the  crutch,  if  you 
have  not  done  so  ;  they  are  manufac- 
tured by  Messrs.  Mcintosh,  Cambridge 
Street,  Manchester. 

Indiarubber  Stoppers. 
G.  I. — Simply  get  a  piece  of  thick 
raw  or  unvulcanised  rubber,  and  carve 
out  the  stopper  with  a  sharp  knife  to  fit 
the  bottle.  The  game  is  scarcely  worth 
tbe  candle,  since  ground-glass  stoppers 
are  infinitely  superior  for  bottleB  to 
hold  acids. — G.  E. 

Books  on  Electricity. 
Amber. — To  come  within  the  price 
you  name,  I  should  recommend  the 
following  : — For  theory,  ' '  Magnetism 
and  Electricity,"  by  F.  Guthrie,  3s.  6d. 
For  construction,  "  Electrical  Instru- 
ment Making  for  Amateurs,"  by  S.  K. 
Bottone  (4th  edition),  3s. 


A  Hint  to  Contributors. 

W.  H.  H.  (Ruthin)  writes  :— "  Might 
I  suggest  that  it  would  be  a  very  great 
help  if  writers  would  give  the  sizes  of 
the  pieces  of  wood  to  be  ordered  so  as 
to  cut  up  economically,  and  to  enable 
it  to  be  stored  to  dry  a  short  time 
before  commencing  work.  For  instance, 
on  page  72,  Vol.  II.  (New  Series), 
occurs  a  list  of  sizes  required  (40  feet 
by  8  by  3.  Suppose  the  timber  merchant, 
sent  four  of  10  feet,  and  one  or  two  of 
12  feet  were  required,  how  awkward  !) ; 
but  not  of  lengths,  only  the  total 
lengths  of  each  size.  The  same  occurs 
on  page  10,  Vol.  II.  It  would  be  a 
very  great  help  to  ignoramuses  like 
myself  if  information  were  given  early 
in  aD  article  as  to  how  many  and  what 
lengths,  widths,  thicknesses,  etc.,  are 
to  be  used,  and  what  wood,  whether 
yellow  pine,  red  deal,  pitchpine,  oak, 
etc.,  or  whether  it  may  be  in  iron,  brass, 
etc,  In  the  article  last  referred  to, 
one  has  to  search  and  calculate  with 
the  probability  of  a  mistake  as  to  the 
lengths  of  walnut,  etc.,  required  to  cut 
up  into  the  lengths  given,  without 
great  waste.  I  sincerely  trust  the 
writers  of  the  articles  referred  to  will 
forgive  me  for  mentioning  this ;  but  I 
feel  sure  that  I  am  only  aiding  the 
object  they  had  in  view  in  writing  the 
articles  referred  to,  by  calling  attention 
to  this  stumbling-block  to  ignorant 
amateurs  like  myself ;  however,  they 
are  by  no  means  the  only  writers  who 
omit  this  helpful  information." 

[I  commend  your  suggestion  to  the 
attention  of  my  contributors  generally. 
The  information  you  ask  for  is  "  help- 
ful "  to  the  more  advanced  as  well  as 
beginners,  because  many  readers  who 
are  good  workmen  find  a  difficulty  in 
taking  off  quantities. — Ed.] 

Lithographic  Press. 
"  Broncuy"  asks: — "  Would  any  of 
'  ours  '  please  say  where  I  could  get 
'  working  drawings '  of  a  press  for 
'litho  work,'  to  be  made  all  of  iron, 
and  able  to  do  very  good  work  ?  I  do 
part  photographing  in  my  spare  time; 
and  I  should  like  a  press  large  enough 
to  print  from  12  x  10  negatives,  and 
under.  I  have  never  seen  a  press  at 
all,  so  I  do  not  know  how  they  are 
constructed."  [If  some  practical  man 
will  write  a  short  paper  on  this  subject, 
I  will  insert  it. — Ed.] 


AMATEURS  IN   COUNCIL. 


155 


Ice  Machines. 

"  Police  "  {India)  writes  : — "  I  have 
been  a  subscriber  to  Amateur  Work 
from  its  commencement,  and  am  in- 
debted entirely  to  this  magazine  for 
what  knowledge  I  have  of  carpentry, 
wood  and  metal  turning,  etc.,  having  had 
no  professional  assistance  or  instruction. 
I  consider  the  Volumes  of  Amateur 
W  p.k  to  be  worth  their  weight  in  gold. 
Of  all  subjects  treated,  that  with 
reference  to  ice  machines,  a  necessity 
in  this  country,  has  not  been  mooted. 
I  shall  feel  greatly  indebted  if  some 
reader  could  give  me  particulars  as  to 
the  making  of  an  ice  machine,  and  how 
to  charge  the  same  with  ammonia.  Such 
information  would  be  of  great  value 
and  assistance  to  us  Europeans  out 
in  the  districts  away  from  the  chief 
towns.  There  must  be  many  readers  of 
Amateur  Wore  in  this  country  who 
would  be  greatly  indebted  to  you  for 
any  such  information." 

[If  someone  who  understands  the 
construction  of  ice  machines  will 
undertake  this,  I  shall  have  much 
pleasure  in  finding  space. — Ed.] 

Castings  for  Microscopes. 
Betep. — A  short  time  ago,  Messrs. 
Butler  Brothers,  Bentham  Road,  South 
Hackney,  advertised  to  supply  castings 
for  microscopes.  You  might  try  them. 
— Electron. 

Kivetting 
E.  W.  (Richmond)  —  Any  small 
things,  such  as  a  fan,  brooch,  bracelet, 
hinge,  hasp,  et;.,  great  care  must  be 
exercised,  frs:  in  the  choice  of  the 
metal  for  the  rivet,  and  secondly  in 
"  closing  "  or  rivetting  the  head  thereon. 
Ordinary  pins,  with  or  without  their 
heads,  are  useful  for  brooch  hinge 
pins,  but  the  less  head  there  is  on  the 
rivet,  consistent  with  holding  properly 
the  better — large  heads  only  show  the 
rivet  and  point  in  repaired  fractures, 
to  the  joint  itself.  To  strike  at  a  very 
loose  pin  or  rivet,  is  to  inevitably  bend 
it,  and  thus  break  the  work.  Let  the 
rivet  fit  accurately,  then  put  it  into  the 
vice,  and  with  very  light  but  numerous 
taps  of  a  small  jeweller's  hammer,  back 
beat  out  on  one  end  a  small  head  or 
"  burr."  Cut  off  the  exact  length  (if 
too  long,  bending  will  take  place  ;  if  too 
short,  there  will  be  no  "  closing  "  the 
second  head) ;  place  the  rivet  in  "  situ," 
and  with  very  gentle  taps  of  the  hammer 


"  close "  the  rivet.  Bemember,  one 
blow  of  the  hammer  over  severe  may 
destroy  a  nearly  finished  and  valuable 
fan  or  bracelet.  Where  stiffness  or 
rigidity  of  rivet  is  desirable,  select  an 
accurately  fitting  needle,  break  off  the 
head  and  point,  leaving  the  rivet  part 
parallel ;  soften  in  a  gas  jet  thoroughly, 
and  hammer  up  a  small  head.  Neat 
work  should  be  slightly  countersunk 
to  receive  the  head  or  burr  of  the 
rivet,     subsequently    filed     smooth.  — 

ExPERIENXED  AMATEUR. 

Battery  Wanted. 
E.  Attwood  writes : — ' '  Could  anyone 
advise  me,  through  the  columns  of 
Amateur  Work,  how  to  make  a  battery 
(very  small  but  powerful)  to  work  a 
small  electric  motor,  to  turn  the  screw- 
propeller  of  a  3-feet  model  yacht.  The 
battery   must    be    powerful,    compact, 

Pten  of  deck 


Srrtion 


End  view. 


and  very  small,  on  account  of  the  small 
amount  of  room  in  the  yacht.  I  want 
the  battery  to  stand  in  a  shaft  so  that 
it  could  lift  in  or  out,  and  the  other 
parts  of  the  boat  (w  w,  see  sketch 
enclosed)  to  be  partitioned  off  so  as  to 
be  water-tight." 

Utilising  Sewing  Machine  Stand. 
A  Eeader  of  "A.  W."  writes: — 
"  Would  someone  kindly  oblige  me 
by  telling  what  uses  I  could  put  an  old 
sewing  machine  to.  It  is  like  an  ordinary 
Singer's ;  it  is  done  for  sewing,  so  far 
as  we  are  concerned.  I  would  like,  if  I 
could,  to  make  it  into  a  fret-sawing 
machine.  I  would  also  like  to  have  a 
small  circular  saw  fixed  to  a  board,  that 
when  not  requiring  fret-cutting,  I  could 
lift  it  off  and  place  the  circular  saw  on ; 
likewise  to  have  some  similar  arrange- 
ment for  a  pair  of  grindstones.     Also, 


is  it  possible  to  have  a  small  lathe 
arranged  in  a  similar  manner,  and 
could  I  set  about  to  make  it  ?  I  am 
only  a  draper's  '  scudge,'  therefore  you 
may  have  an  idea  how  I  am  placed,  so 
far  as  funds  are  concerned  ;  so  I  trust 
you  will  show  me  what  I  can  do  with 
it,  and  in  the  most  economical  way.  I 
trust  you  will  endeavour  to  make  the 
instructions  as  clear  as  you  can,  as  I 
am  very  tuick-headed  in  understanding. 
I  am  taking  the  '  Technical  Dictionary ' 
to>  help  me;  it  is  just  the  thing  I 
wanted,  and  I  feel  sure  many  of  the 
readers  of  '  A.  W.'  would  do  well  to 
take  it." 

Pin  Puzzle  Box. 

H.  J.  Wippell  writes  : — "  Allow  me 
to  thank  '  Retep,'  through  your  columns, 
for  his  reply  to  my  query  relating  to  a 
pin  puzzle  box,  which  appeared  in  the 
drst  part  of  the  present  volume.  I 
have  with  his  kind  assistance  just 
completed  a  very  pretty  pin  trick 
match  box,  the  material  used  in  its 
manufacture  being  brass,  and  which 
resembles  in  shape  a  magic  pocket 
lamp.  I  have  just  sent  it  to  be 
nickel-plated,  to  give  it  a  more  finished 
appearance. 

The  sketches  alone  elucidated  the 
mechanism  of  the  box  so  clearly 
that  before  reading  the  text  I  knew 
exactly  how  the  box  was  constructed  ; 
but  he  described  it  so  palpably,  that 
the  most  shallow  brain  could  not  help 
but  see  how  it  was  manufactured. 
'  Peter  '  has  proven  himself  '  Peter 
wise'  in  this  matter,  and  has  con- 
tradicted the  old  adage,  viz.,  '  Peter 
simple,'  which  after  this  should  be 
considered  defunct. 

Criticism. 
A  Correspondent  writes: — "I  am 
very  sorry  that  Mr.  Scott  has  written 
so  intemperate  a  reply,  but  I  have 
nothing  to  add  to  my  former  wish  to 
see  either  of  the  articles  in  question, 
and  if  possible  made  by  the  designers. 
Yet  if  I  had  known  that  he  had  ever 
won  the  commendation  of  a  relative  of 
an  Arctic  explorer,  1  might  have 
understood  then  that  any  design  of  his 
must  be  beyond  criticism.  I  am  quite 
willing  to  admit,  if  it  pleases  him,  that 
48  out  of  the  50  articles  designed 
by  him  are  absolute  perfection,  but 
although,  according  to  Mr.  Scott,  I  do 
'  not  desire  to  be  entitled  to  an  opinion 


156 


AMATEURS  IN  COUNCIL. 


at  all,'  yet  I  have  one  as  to  the  two 
remaining  articles  of  the  50.  I  am, 
however,  sorry  I  have  offended  him. 
'  Very  few  designers  can  wield  a  work- 
man's tools.'  Hurrah  !  the  cat  jumps 
out  of  the  bag.     Pity  't  is  't  is  true." 

Rhomkorff  Coil 
H.  A.  O.  (Finsbury  Park). — You 
will  find  instructions  for  making  a 
miniature  Rhomkorff  coil  in  Vol  I. 
(New  Series),  Part  5,  page  214.  I 
have  seen  an  excellent  coil  made  from 
these  instructions. 

Wood  Engraving. 

Amateur  Engraver  writes  : — In  my 
article  on  the  above  subject,  published 
in  the  January  number  of  Amateur 
Work,    the    engraver    did    not    quite 


catch  the  idea  m  reproducing  Fig.  10. 
The  accompaning  block  will  better  show 
how  the  tint  tools  Bbould  be  graded, 
giving  lines  of  eight  different  widths. 
— Amateur  Engraver. 

Staining  Wood  to  Match  a  Pattern. 

Amateur.  —  For  darkening  wood, 
particularly  in  matching  shades,  bi- 
chromate of  potash  is  a  convenient  and 
efficient  agent.  It  can  be  used  in 
different  degrees  of  strength,  all  of 
which  may  be  prepared  from  a  mother 
liquid  of  a  strength  of  one  ounce  to  a 
pint  of  water.  This  may  be  diluted  by 
the  addition  of  an  equal  or  double 
quantity  of  water  to  the  tint  desired. 
Raw  linseed  oil,  coloured  with  Brazil- 
wood dust  (red  oil)  is  used  to  darken 
mahogany  and  rosewood.  The  oil  is 
prepared  by  pouring  the  oil  over  the 
dust,  which  yields  some  of  its  colour  to 
the  oil. 

Lightning  Paper. 

E.  L.  (Bermondseij) . —  Spon  gives 
the  following  method  of  making  this 
paper  : — "  Dry  1,000  grains  of  pure 
nitre  at  a  moderate  heat,  place  it 
in  a  dry  retort,  pour  on  it  10  drachms, 
by  measure,  of  strong  sulphuric  acid, 
and  distil  until  6  drachms  of  nitric  acid 
have  passed  over  into  the  receiver. 
Dry  some  thin  unsized  paper,  such  as 
filter  paper,  and  weigh  out  60  grains  of 


it.  Mix  5  measured  drachms  of  the 
nitric  acid  with  an  equal  volume  of 
strong  sulphuric  acid  in  a  small  glass 
vessel ;  allow  the  mixture  to  cool ; 
immerse  the  paper,  pressing  it  down 
with  a  glass  rod  ;  cover  the  vessel  with 
a  glass  plate,  and  set  it  aside  for  15  or 
20  minutes.  Lift  the  paper  out  with  a 
glass  rod,  throw  it  into  a  bucket  of 
water,  and  wash  it  thoroughly  in  a 
stream  of  water  till  it  no  longer 
reddens  blue  litmus  paper.  Dry  it  by 
exposure  to  the  air,  or  at  a  very  gentle 
heat. 

Colouring  Walls  of   Dining  Room. 

Colour. — The  suggestion  you  make 
is  a  decidedly  startling  innovation  ;  but  a 
somewhat  similar  effect  in  colour  was 
devised  by  "  Whistler  "  in  the  painting 
of  a  small  room  in  London.  The  walls 
were  first  painted  a  pure  black,  which 
was  afterwards  overlaid  with  a  coat  of 
semi-transparent  yellow.  The  result  of 
this  was  that  the  walls  no  longer 
appeared  solid  material,  but  resembled 
a  dense  fog,  giving  a  suggestion  of 
space  beyond.  The  small  room  was 
still  small,  but  did  not  look  so. 

Bicycle  Cement. 
Professor  Marissiaux.  —  Melt  to- 
gether equal  parts  of  yellow  pitch  and 
gutta  percha.  The  addition  of  shellac 
in  the  proportion  of  about  one  of 
shellac  to  two  of  the  above  cement,  will 
increase  its  hardness. 

Replies  Devoid  of  General  Interest. 
G.  A.  Savage. — Your  photos  were 
unfortunately  received  too  late  for 
competition.  Several  competitors,  both 
in  photography  and  fretwork,  were 
disqualified  for  the  same  reason. 

R.  Homes. — Thanks  for  your  sugges- 
tions, which  shall  have  attention  when 
I  offer  another  fretwork  prize. 

Fred  Fenwick. — You  will  find  the 
information  you  require  in  Amateur 
Work,  Vol.  VI.  (Old  Series),  page  155. 

An  Amateur  in  Difficulties. — 
Practice  alone  will  give  you  proficiency. 
I  should  recommend  you  to  get 
"  Exercises  in  Woodworking,"  pub- 
lished by  W.  Allen  and  Co.,  Caxton 
House,  Paternoster  Square,  E.C.,  and 
work  at  ExerciseB  5,  6,  and  19  until 
perfect.  A  few  days  at  this  would  put 
you  right. 


W.  H.  Hughes. — Your  request  for  a 
bookcase  with  sliding  doors  has  been 
put  into  the  hands  of  a  practical  man, 
and  an  article  will  appear  in  due 
course. 

Magic  Lantern. — I  Iilv  in  hand  a 
paper  on  the  construction  of  lime 
cylinders. 

F.  Turner.  —  The  long  promised 
article  on  the  construction  of  hand- 
cameras  has  now  come  to  hand.  It  will 
appear  as  soon  as  I  can  find  space ; 
probably  in  the  April  part. 

R.  J.  Seccombe. — You  will  see  that 
having  made  a  rule,  I  am  bound  to 
abide  by  it ;  but  apart  from  this,  the 
articles  sent  in  competition  for  the 
fretwork  prize  were  judged  on  January 
1st;  consequently  your  work  was  not 
opened  until  after  the  prize  was 
awarded.  If  it  is  any  consolation  to 
you'to  know  it,  you  were  not  alone  in 
this  respect.  I  very  much  regret  to 
hear  that  your  bracket  was  damaged  in 
transit. 

A  Reader  of  "  A.  W."— Thanks 
for  your  suggestions,  which  shall 
have  my  serious  consideration.  I  will 
give   you   a   fuller   reply   next  month. 

W.  J.  Childs. — I  have  a  paper  in 
hand  that  will  meet  your  requirements, 
but  there  is  so  much  pressure  on  my 
space  that  I  cannot  give  any  definite 
time  for  its  appearance. 

J.  D.  Kilby. —  Your  requirements 
are  being  attended  to.  An  article  is 
being  written  dealing  with  the  special 
points  to  which  you  refer. 

J.  W.  Partridge. — The  reflecting 
telescope,  its  construction  and  manu- 
facture, is  fully  described  in  Vols.  V. 
and  VI.  (Old  Series)  of  Amateur  Work. 

A.  R.  Ord. — I  do  not  think  you  will 
find  any  place  of  the  kind.  When 
amateurs  desire  to  sell  their  work  they 
have  to  compete  in  the  open  market 
with  professional  mechanics.  I  know 
several  amateurs  who  are  doing  this 
and  earning  a  moderate  income. 


LETTERS  RECEIVED  UP  TO.  JAN.  12. 

H.  A.  L.  ;  Carnota  ;  A.  C.  Toker  ; 
Morton;  P.  Bennett;  E.  N.  T. 
Griffith  ;  A  New  Reader  ;  Cuaklie. 


I  h 


PRESENTED   WITH   "AMATEUR   WORK,   ILLUSTRATED,"   PART   28   (NEW   SERIES),   MARCH,   1891- 


Hints  on 

Decorating  the  House 

By  Photography. 

By  RAR. Bennett  B.A.Presidentof  the  Photographic  Section  oP 
The  Oxford  Natural  History  Society. 


FIC-19.  Hanging  Basket  Fofflewtrs. 
China  plaques  in  pawned  iron  frame  S 
orna/ntned  with  transHrs. 


no.  \Z. Candle braelertormmented ivth 
portraits  tmimrincerrtrt 


el-, 


fig. 20    ftusoc  or  Bamboo  Jardinietv.- 
Fanelsfiiled  with  transfers  on  China  plaques. 


f\^.\Z,M;iidneCupbo3rd.- 

fantls  Ornamenud 


WavD  I  <%**  t'lunooN.  /fr*  Yonit  *  MfiBoosit 


A   FEW  IDEAS  IN   WOODWORK. 


157 


A  FEW  IDEAS  IN  WOODWORK. 

By  J.  LVKIN. 


E^^ET-HE  last  volume  of  Amateur  Work 
displays,  like  trie  former  volumes,  a 
good  deal  of  ingenuity  in  the  matter 
of  amateur  handicraft.  There  are,  however,  a 
few  modes  and  methods  of  using  wood  in  orna- 
mental devices  of  which  little  notice  has  been 
hitherto  taken.  Not  very  long  ago  I  made  the 
wall  bracket  which  I  have  represented  here ;  and 
it  has  so  charming  an  effect,  simple  as  it  is,  that 
I  have  many  a  time  considered  the  expediency 
of  sending  it  to  Amateur   Work,  of   which  I 


vice,  instead  of  having  it  in  a'horizontal  position. 
I  can  see  better  and  work  better  thus.  But  I 
do  not  profess  to  great  skill  in  fret-sawing,  of 
which  so  many  abler  and  more  practised  amateurs 
have  written  in  these  pages. 

The  bracket  is  18  inches  long,  and  the  back 
7  inches  high  to  the  top  point.  The  shape  is  as 
sketched  ;  and  as  it  looks  exceedingly  well,  it  may 
be  reproduced  as  it  is,  or  altered  as  individual 
fancy  may  suggest.  The  only  modification  I 
would  recommend  is  to  extend  the  back  below 
the  shelf  to  about  the  same  distance  as  it  is 
carried  above,  so  as  to  allow  a  support  of  the 
usual  form  to  be  attached  to  it  and  to  the  shelf. 


purchase   each  bound   volume    as    soon   as   it 
appears. 

If  the  bracket  is  made  of  sycamore  and  ebony, 
or  ebonised  wood,  the  effect  will  be  all  that  can 
be  desired ;  but  my  own  was  of  3-ply  wood, 
such  as  can  now  be  bought  at  any  shop  where 
fretwork  material  is  sold — Zilles'  for  example. 
The  main  bracket  can  be  cut  out  with  a  fret- 
saw, but  I  hardly  know  why  it  is  that  I  never 
have  done  much  with  this  tool,  and  I  find  a 
finely-toothed  sharp  keyhole  saw  one  of  the  most 
serviceable  of  all  means  for  outlining  curved 
forms  ;  I  say  "  outlining,"  because  it  is  evidently 
unsuitable  for  what  I  may  call  the  internal  work 
of  curved  and  complicated  designs.  As  a  rule, 
moreover,  I  like  to  fix  the  work  in  an  upright 

Vol.  III.  (New  Series).— Part  28. 


It  will  do  without  this,  and  my  own  was  made 
without  it,  but  simply  because  the  wood  of 
which  it  was  made  was  too  small  to  permit  of 
being  differently  arranged.  The  great  boon 
conferred  by  3-ply  wood  is  that  it  matters  not 
which  way  it  is  cut ;  it  can  be  always  used 
economically,  as  you  are  not  tied  and  fettered 
by  having  to  cut  the  design  in  one  direction 
only  on  account  of  the  grain.  In  this  there  is 
practically  no  grain,  for  it  lies  in  three  directions 
at  the  same  time. 

Having  cut  out  the  form  of  the  back,  mark  out 
carefully  a  parallelogram  about  \\  inches  wide, 
extending  the  greater  part  of  the  length  of  the 
back,  and  cut  it  out  very  carefully,  filing  it  up, 
if  necessary,  sharp  and  true  each  way. 

o 


158 


A   FEW  IDEAS  IN   WOODWORK. 


Next  cat  out  the  shelf ;  and  let  nie  note  here 
that  it  is  the  better  plan  in  all  work  to  cut  out 
all  the  parts  at  once  first  of  all,  and  not  to  cut  out 
one  or  two,  and  then  begin  to  put  them  together 
before  getting  out  the  rest.  The  shelf  is  about 
6  inches  wide  in  my  own  bracket,  in  the  middle 
or  widest  part,  but  its  width  is  of  no  great 
importance.  It  is  sure  to  look  narrower  than 
it  really  is,  owing  to  the  perspective  fore- 
shortening, which  will  affect  it  when  fixed  to 
the  wall. 

The  perforated  oblong  in  the  back  is  cut  to 
receive  a  row  of  ebony  pillarets,  which  must  all 
be  exactly  alike,  and  must,  of  course,  be  turned 
in  a  lathe  ;  a  very  small  one  being  sufficient  for 
such  work  as  the  present.  They  are  best  made 
of  black  wood  or  ebony,  but  stained  box  is 
nearly  as  good. 

The  mouldings  should  be  cut  clean  with  a 
sharp  gouge,  and  sandpaper  avoided,  as  it  rubs 
off  sharp  angles.  The  pillarets  will  stand  about 
\  inch  apart,  or  somewhat  less.  Around  these  is 
a  neat  bead,  and  it  has  a  twofold  object  :  it  adds 
greatly  to  the  appearance,  being  blackened  to 
match  the  pillarets  ;  and  in  addition  to  this  it 
facilitates  the  construction,  as  the  pillarets  are 
fitted  into  the  top  and  bottom  strip  first  of  all, 
and  then  the  whole  is  glued  into  place.  In  eases 
of  this  kind  it  is  also  an  excellent  plan  to  give 
the  pillarets  a  form  similar  to  Fig.  2  ;  i.e.,  let 
neither  end  have  a  shoulder,  and  they  can  then 
go  into  their  sockets  to  any  depth,  a,  b,  c,  as 
required,  and  are  capable  of  nice  adjustment  in 
respect  of  visible  length. 

Let  me  give  here  a  few  hints  about  turning 
such  pillarets,  of  which  I  made  eighty  only  a 
few  days  since,  which  is  not  exactly  a  labour  of 
love  to  an  impatient  man. 

Prepare  the  pieces,  all  of  them,  at  the  com- 
mencement with  saw  and  chisel  as  nearly  to  size 
as  possible.  I  prefer  to  turn  them  singly,  but  if 
turned  in  pairs  a  double  length,  with  something 
to  spare  for  the  chuck,  must  be  provided.  Set 
•open  a  pair  of  compasses  (spring  and  screw  are 
best,  as  they  cannot  alter  the  space  at  which 
they  are  set  open)  to  the  length  required  for  a 
pillarot.  Allow  some  little  extra,  as  it  can  be 
cut  off  afterwards.  Set  a  pair  of  callipers  to 
the  size  of  the  largest  part  in  the  middle  of  the 


pillaret,  or  cut  a  notch  in  a  bit  of  tin  plate  as  a 
gauge,  and  another  small  notch  the  size  of  the 
ends,  which  should  be  that  of  some  one  drill  in 
stock.  Always  consider  what  sized  hole  you  are 
capable  of  making  before  you  commence,  as  it 
will  save  a  multitude  of  woes  afterwards.  For 
such  small  work  a  3 -jaw  drill  chuck  is  very 
handy,  as  it  holds  such  bits  of  wood  securely, 
and  they  can  be  mounted  in  half  a  minute  to  run 
true.  The  prong  is  no  use  for  box  and  hard 
wood.  The  cross  prong  will  do  if  saw  cuts  are 
made  and  the  end  of  the  stuff  is  quite  squarely 
sawn,  or  a  square  hole  chuck  of  box  with  a  hole 
1  inch  square,  slightly  tapering  inwards.  It  is 
very  useful  for  all  such  work  as  the  present, 
and  it  is  only  necessary  to  square  the  end  of 
the  stuff  with  a  light  hand-axe  or  chisel.  Three 
such,  with  different  sized  holes,  will  suffice 
for  an  immense  deal  of  work.  Gauge  the  size 
of  the  middle  with  callipers  or  the  bit  of 
notched  tin ;  draw  a  pencil  line  in  the  centre, 
and  two  others  at  equal  distances  on  each  side 
(for  this  particular  pattern) ;  then  with  the 
chisel  cut  out  the  deep  notches,  leaving  the  lines 
visible  on  the  summit,  i.e.,  just  barely  visible, 
and  run  down  with  a  nice  curve  to  the  ends  (see 
Fig.  4).  Having  made  one  very  carefully,  it 
serves  as  a  guide  to  all  the  rest.  Hold  it 
against  the  next  one,  as  soon  as  the  piece  is 
roughly  shaped  and  true  to  size,  and  with  a  fine 
pencil  (if  box  is  used),  or  a  pointed  scriber  (if  it  is 
of  black  wood),  mark  the  summits  of  the  mould- 
ing, and  no  difficulty  will  be  experienced  to  any- 
one able  to  use  a  chisel  and  gouge,  which  are  the 
only  tools  needed.  I  have  purposely  supposed  a 
design  particularly  easy  to  cut,  because  it  is  so 
much  more  difficult  to  turn  exactly  alike  a 
number  of  pillarets  in  which  there  is  a  preva- 
lence of  convex  and  hollow  curves.  When  the 
pillarets  stand  almost  touching  each  other,  any 
difference  of  form  is  very  painfully  visible;  and 
if  one  is  of  larger  size,  it  of  course  reduces  two 
of  the  intermediate  spaces,  and  makes  the  entire 
row  appear  to  be  carelessly  spaced  out.  I 
specially  like  the  tin  gauges  instead  of  callipers, 
and  one  like  Fig.  5  will  give  all  the  measure- 
ments required,  and  cannot  get  altered  if  it 
happens  to  fall  off  the  lathe-bed.  Compasses 
and   callipers  often  get  wider   open  by  being 


A   FEW  IDEAS  IN    WOODWORK. 


159 


repeatedly  used.  Carpenters  use  such  gauges 
largely  in  sash-making,  cutting  them  out  in 
■wood,  with  nail  points  set  in  for  marking,  so  as 
to  have  on  one  single  tool  ail  the  several  measure- 
ments required.  "We  may  now  go  on  to  speak  of 
the  vandyked  borders  below  the  shelf.  This,  too, 
is  black,  but  is  of  the  same  three-ply  sycamore  or 
other  wood,  which  is  afterwards  ebonized.  All 
this  is  centre-bit  work ;  and  so  effectively  can 
work  be  thus  done,  that  it  is  a  wonder  no  one 
seems  to  have  elaborated  it,  as  it  is  easily  done, 
and  takes  but  little  time,  and  with  three-ply 
wood  there  is  no  risk  of  splitting  out  the  inter- 
stitial parts. 

The  points  here  illustrated  are  left  plain,  with 
rectilinear  sides ;  but  these  may  be  scalloped  by 
the  same  tools,  to  produce  an  outline  of  almost 
any  shape  that  can  be  produced  by  curved  lines 
which  form  segments  of  circles.  The  centre-bits 
should  decrease  in  size  as  the  extremities  of  the 
triangular  points  are  approached.  As  an 
example,  take  Fig.  6,  and  let  the  sides  of  the 
triangles  be  set  off  to  measure  two  inches  on 
either  side  (the  third  side  is  of  no  account 
except  as  a  means  of  admeasurement) ;  then 
divide  the  two  sides  into  8,  or  10,  or  12  equal 
parts,  and  with  centres  thus  joined,  and 
centre-bits  of  suitable  size,  cut  out  adjacent 
circles  so  as  just  to  meet.  The  shaded  Kg. 
shows  the  part  left  to  form  such  a  vandyke. 
The  centre  of  No.  4  is  simply  further  off  than 
that  of  No.  1 ,  and  thus  adds  variety  to  the  outline. 
It  is  pleasant  work  for  winter  evenings  to  sketch 
such  devices,  which  can  be  varied  at  pleasure. 
The  edge  of  the  back  part  is  carefully  ebonized, 
to  form  a  clean  black  margin,  sharply  defined, 
about  \  inch  wide,  following  the  contour  of  this 
part.  The  hole  intended  to  facilitate  hanging 
the  bracket  on  a  brass-headed  nail,  has  a  similar 
black  border.  The  two  front  angles,  at  which 
the  vandyke  curtain  meets  the  side  pieces,  are 
ornamented  with  a  turned  pillaret,  squared  at 
the  base,  and  rather  longer  than  the  Vandykes. 
The  whole  of  this  part  is  glued  to  little  blocks, 
placed  at  the  back  as  a  support,  and  which  are 
also,  themselves,  glued  to  the  shelf.  On  the  top 
of  the  latter, .  a  black  rim  of  simple  moulding 
makes  a  neat  finish ;  that  which  I  used  was  a 
chance  length,  of  simple  design,  from  a  broken 


picture  frame — merely  a  bead  and  hollow,  half 
an  inch  wide. 

Although  this  bracket  was  at  first  left  of  plain 
white  sycamore,  bordered  with  black,  its  present 
owner  took  a  fancy  to  cover  it  with  bronze 
paint,  probably  of  Aspinall's  manufacture  ;  and 
if  not  improved  thereby,  it  certainly  has  a  very 
satisfactory  appearance.  In  fixing  it  by  simple 
suspension,  I  found  the  shelf  inclined  to  sag 
down  a  little,  and  I  supplemented  it  by  a  bronze 
fretted  support,  underneath,  of  cast  metal.  This 
has  a  neat  look  about  it ;  but  it  would,  as  I 
stated,  be  better,  even  if  such  addition  is  to  be 
used,  to  carry  down  the  back-board  below  the 
shelf,  so  as  to  allow  a  support  of  similar 
character  to  be  attached  to  it.  In  my  next,  I 
shall  have  another  arrangement  to  describe, 
needing  some  additional  plain  hand  turning. 

With  regard  to  the  ornamentation  of  such 
work  by  the  centre-bit,  I  may  mention  a  very 
excellent  substitute,  or  variety,  of  this  tool, 
recently  patented,  of  which  Mr.  Melhuish,  of 
Fetter  Lane,  kindly  sent  me  a  specimen,  and 
also  a  sample  of  work  done  with  it.  It  is  a 
hollow  cylinder  at  the  cutting  end,  with  a  bit 
something  like  that  of  a  nose-bit  or  auger.  It 
cuts  a  round  parallel  hole  quite  level  at  the 
bottom,  there  being  no  screw  or  projecting 
point  whatever.  I  never  met  with  so  perfect 
and  simple  a  tool  for  recessed  and  stepped 
work.  If,  for  instance,  two  circles  are  drawn 
concentrically,  half  an  inch  apart,  one  of  these 
half-inch  bits  will  recess  the  space  between 
them  by  simply  overlapping  the  cuts,  and  will 
produce  a  circular  groove  with  a  perfectly  flat 
bottom,  almost  equal  to  turned  work.  For 
pattern  makers,  carvers,  and,  I  should  think, 
engravers,  it  will  be  of  great  value ;  and  to 
the  amateur  turner,  especially,  I  commend  it 
for  hollowing  out  boxes,  which  it  does  rapidly 
and  well.  Being  a  tube,  it  does  not  run  out 
of  cut.  They  cost  from  Is.  6d.  to  4s.  6d.  each, 
according  to  size,  and  are  beautifully  made, 
with  square  shanks  to  fit  an  ordinary  brace. 
Very  slight  pressure  is  needed  to  make  them 
penetrate  soft  wood.  No  other  bit,  so  far  as 
I  know,  leaves  a  level  bottom  to  the  hole 
which  it  forms.  It  is  just  the  tool  for  recessing 
wood  to  receive  medallions  of  turned  work. 


160 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


THE  MAGIC  LANTERN  :  HOW  TO 
MAKE  AND  USE  IT. 

"WITH    FULL    INSTRUCTIONS    FOE 
MAKING  A   £50   OUTFIT   FOR   £5. 

By   W.  A.  ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 


IV. — The   Lenses  :  Where  to   buy  and   how  to  fit 
them  —The  Burners. 

S  I  said  in  my  last,  an  amateur  photo- 
grapher having  a  portrait  lens,  may 
use  that  for  a  single  lens  lantern,  but 
as  a  really  first-class  lantern  should  have  at 
least  three  sets  of  focussing  front  lenses,  to 
show  the  same  size  picture  at,  say,  20,  30,  and  40 
feet  away  from  the  sheet,  and  as  our  lantern  is 
to  be  a  first-class  one,  we  shall  have  to  see  what 
can  be  done.  Messrs.  Chadburn  Brothers, 
Nursery  Street,  Sheffield,  will  sell  (wholesale) 
three  or  any  number  of  sets  of  4 -inch  condensing 
lenses,  unmounted,  at  6s.  2d.  per  set,  and  front 
focussing  lenses  of  4,  6,  and  8  inch  focus,  at  6s. 
per  set,  of  really  splendid  quality ;  and  as  we 
have  only  £5  to  spend,  this  is  how  we  shall 
have  to  get  them. 

I  will  now  proceed  at  once  to  show  you  how  to 
mount  the  lenses,  beginning  with  the  condensers. 
First  get  a  piece  of  brass  tube,  rather  thick,  and 
a  little  larger  in  diameter  than  the  glasses,  but 
not  so  much  as  to  allow  them  to  go  inside. 
Put  the  tube  in  the  lathe,  and  cut  off  six  pieces 
one  inch  wide,  and  join  them  in  pairs  by  chasing 
a  very  fine  thread  on  the  inside  of  one  and  on 
the  outside  of  the  other.  Then  on  the  outside 
ends  cut  a  groove  to  take  the  lenses,  and  burnish 
in,  something  like  a  glass  in  a  watch,  but  the 
convex  side  of  the  lens  must  be  inside.  The 
screwed  centre  is  to  allow  the  inside  to  be 
cleaned  (see  Figs.  20  and  21). 

The  fitting  of  the  condensers  will  give  us  a 
little  practice  before  fitting  up  the  front  lenses. 
Each  set  of  the  latter  consists  of  four  glasses, 
which  must  be  secured  into  a  tube,  so  that  we 
can  draw  out  the  lenses  and  insert  another  set 
without  unscrewing  anything.  But  as  we 
cannot  secure  them  like  the  condensers,  little 
casting  must  be  provided  for  the  front  and  back, 
like  Fig.  22,  which  will  be  seen   has  a  little 


distance  piece  between  the  lenses  of  ^  inch ;  the 
whole  is  then  mounted  into  a  tube,  so  as  to  get 
1 1  inches  between  the  inside  of  the  lenses. 

The  rack  fronts  (Figs.  23  and  24)  you  will  see 
consist  of  four  tubes,  one  inside  the  other,  and 
about  3£  inches  long.  First  get  a  piece  of  tube 
about  an  inch  wide,  to  fit  the  lens  tube  exactly, 
so  as  to  hold  it  tight,  but  yet  allow  it  to  slide  in 
and  out ;  to  make  it  somewhat  of  a  spring,  cut 
it  with  a  fretsaw,  like  Fig.  24  e.  Get  another 
tube  J  inch  larger  in  diameter  and  3J  inches 
long,  connect  the  two  together  with  a  ring  made 
of  square  brass  wire  or,  better  still,  a  casting, 
which  can  have  an  ornamental  edge  to  make 
a  finish  to  the  fronts.  To  the  inside  of  this 
tube  is  secured  the  rack,  and  a  long  slot  is 
cut  in  it  to  allow  the  pinion  to  reach  the 
rack.  Again  we  want  a  tube  to  fit  outside 
the  rack  tube,  about  2£  inches  wide,  and  with 
another  very  thick  tube,  1J  inches  wide,  soldered 
on  one  end ;  this,  the  last,  an  outside  tube,  being 
thick  to  take  the  screws  of  the  plate  carrying' 
the  pinion,  which  must  have  a  large  milled 
brass  head.  The  tubes  can  be  obtained  at 
Smith's,  St.  John's  Square,  Clerkenwell,  and 
the  kind  called  mandrel  tubes  are  the  best,  as 
they  will  only  want  polishing  to  make  them  fit. 
The  price  is  Is.  6d.  per  pound,  but  being  so 
light  and  thin  they  will  not  cost  much.  The 
pinion  is  made  of  pinion  wire,  which  can  be 
obtained  at  the  same  place  with  any  number 
of  leaves.  The  rack  can  be  made  with  a  saw 
having  a  guide  on  it ;  that  is,  if  you  have  not 
the  means  to  cut  it  properly  in  the  lathe. 

The  Burners. — There  are  two  kinds,  the  high 
pressure  for  two  gases  under  pressure,  and  the 
low  for  one  gas  only  under  pressure.  The  first 
gives  the  best  light,  and  the  latter  is  the  more 
simple  and  safe.  In  fact  it  would  be  as  well  to 
fit  the  lantern  with  the  two  sorts  ;  so  we  will 
take  the  high  pressure  first.  Make  a  little  box, 
square  or  round,  about  an  inch  each  way ; 
braze  it  tight,  and  secure  a  piece  of  tube  on  one 
side  about  1|  inches  long,  to  take  the  nipple 
(see  Fig.  25).  Make  holes  in  the  ends  to  take  a 
piece  of  §  inch  brass  tube,  screwed  at  both  ends 
to  take  §  inch  brass  elbows,  and  with  a  division 
in  the  centre,  drill  little  holes  in  the  tube  close 
to  the  centre  (see  Fig.  26).  Mr.  Milnes,  Ingleby 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


161 


FIC. 28. 


FIGS.  20  AND  21.— CONDENSERS  ;  A,  A.  A,  PLAIN  CONVEX  LENSES,  4-INCH  DIAMETER,  4-INCH  FOCUS  ;  B,  B,  B,  BRASS  TUBE  ; 
C,  C,  C,  SCREWED  JOINT.  FIG.  22.— LENS  TUBE  ;  A,  A,  A,  A,  LENSES  ;  B,  B,  B,  B,  CASTINGS  TO  CARRY  LENSES  ;  C,  C, 
TUBE  TO  SECURE  LENSES  IN  CASTING  ;  D,  TUBE  TO  CONNECT  AND  CARRY  THE  WHOLE  ;  E,  DISTANCE  PIECE  BETWEEN 
LENSES.  FIG.  23. — FRONT  LENS  MOUNTED.  FIG.  24. — FOCUSSING  TUBES  IN  SECTION  J  A,  RACK  ;  B,  PINION  ;  D,  SLIDING 
TUBE  ;  E,  TUBE  TO  CARRY  LENS  TUBE  ;  F,  CHASED  THREAD  TO  SCREW  INTO  SLIDING  TUBES  OF  LANTERN  FRONT. 
FIG.  25. — BOX  TO  TAKE  NIPPLE.  FIG.  26. — HIGH  PRESSURE  BURNER.  FIG.  27.— LOW  PRESSURE  BURNER.  FIGS.  28 
AND  29. — LIME  HOLDER.  FIG.  30.  —  FRAME  FOR  SECURING  LIME  HOLDER  TO  LANTERN.  FIG.  31. — SHOWING  ARRANGE- 
MENT OF  COCKS  FOR    MIXING    GASES. 


"Works,  Brownroyd,  Bradford,  lias  my  patterns, 
and  would  supply  castings  for  a  trifle.  The 
nipple  is  the  most  important  part,  and  must  be 
well  made ;  it  should  have  a  smooth  hole 
tapering  from  the  size  of  a  darning  needle,  in 


the  front,  to  £  inch  at  the  back  (see  a,  Fig.  26). 
It  mil  now  be  seen  that  if  the  two  gases  enter 
from  the  two  sides  at  the  same  time,  and  under 
the  same  pressure,  they  will  issue  out  of  the 
little  holes  into  the  chamber,  mix  together,  and 


162 


MODEL  RAILWAY    BUILDING. 


ascend  through  the  burner  and  on  to  the  lime. 
Of  course,  it  is  very  important  that  the  two 
gases  should  be  at  the  same  pressure,  or  they 
will  not  mis  properly ;  and  if  the  hydrogen  is 
the  lightest,  the  oxygen  might  drive  the  flame 
back  through  the  tube,  and  cause  an  explosion. 
In  the  low  pressure  the  gases  are  not  allowed  to 
mix  until  in  the  burner  (see  Fig.  27).  A  is  a 
£  inch  brass  tube  for  the  common  gas,  b  is  a 
smaller  tube  brazed  or  screwed  into  it  with  a 
nipple  in  the  end,  as  before ;  this  burner  is 
absolutely  safe  in  the  most  careless  hands. 
The  lime  holder  is  a  very  simple  matter  :  solder 
a  piece  of  brass  across  the  tube,  say  about 
\\  inches  wide,  cut  a  slot  in  it,  and  fit  a  steel 
screw  3  inches  long,  £  inch  diameter,  with  two 
nuts,  one  each  side  of  plate  to  secure  it,  and  a 
tapped  eight  square  plate  to  run  up  and  down, 
to  hold  the  lime  (see  Figs.  28  and  29). 

Make  out  of  £  inch  brass  tube,  a  frame  like 
Fig.  30,  with  brass  flanges,  to  secure  it  to  the 
inside  of  lantern,  against  the  woodwork.  The 
tubes  must  be  stopped  so  that  the  one  gas  goes 
to  the  right  side,  and  the  other  gas  to  the  left ; 
then  screw  in  and  sweat  with  solder  the  three 
sets  of  cocks  (see  Fig.  31),  for  adjusting  the 
mixing  of  the  gases. 


MODEL  RAILWAY  BUILDING. 

(PEEMANENT     WAY.) 
By   W.  E.  J.  OAWTBORP. 

II. — Material  for  Rails— How  to  Lay  the  Rails  and 
Sleepers — Points  and  Shunts. 

HE  best  material  of  which  to  make  the 
lines  themselves  is  brass,  but  they 
may  be  made  of  wood  by  those  who 
fear  to  tackle  metal.  In  the  latter  case,  a  piece 
of  J-inch  hard  wood,  planed  both  sides,  must  be 
cut  up  into  strips  about  §  wide,  by  means  of 
a  sharp  penknife,  and  a  metal  straightedge 
securely  clamped  down  ;  then  these  strips  must 
be  carefully  planed  up  smooth,  and  of  equal  size. 
Then  if  the  instructions  for  metal  lines  be 
carefully  adhered  to,  substituting  glueing  for 
soft-soldering,  and  using  a  few  pins  without 
heads  for  additional  security,  a  set  of  rails  nearly 
as  good  as  the  metal  ones  may  be  produced. 


But  to  return  to  the  metal  rails.  Procure  a 
sufficient  quantity  of,  say,  j?8  by  iV  inch  drawn 
brass  wire  in  straight  lengths,  at  a  metal 
shop,  paying  from  lOd.  to  Is.  per  lb.  for 
it.  Cut  up  enough  of  this  to  make  all  the 
straight  rails  into  equal  lengths  of,  say,  about 
18  inches  in  length,  and  make  these  quite  true, 
taking  out  all  bends  and  twists.  It  is  quite 
possible  to  lay  parts  of  the  line  in  long  lengths 
from  end  to  end,  but  it  will  be  much  easier  to 
make  them  true  in  short  pieces.  Out  of  the  same 
material  next  cut  the  "sleepers,"  as  they  are 
called,  that  is  to  say,  representations  of  the  heavy 
creosoted  blocks  of  wood  which  are  laid  across 
the  gravel  bed,  and  on  to  which  the  rails  are 
fixed  by  means  of  "  chairs."  The  latter  we  will 
neither  describe  nor  make  use  of,  because  it  is 
simpler  in  our  case  to  soft-solder  (or,  in  the  case 
of  wood  rails,  to  glue)  the  lines  on  to  the  sleepers. 
Real  sleepers  extend  on  either  side  of  the  rails, 
as  in  sectional  drawing  (Fig.  4.),  which  also 
shows  the  chairs  above  mentioned  with  the  rails 
wedged  in  by  means  of  hard  wood  wedges  ;  but 
we  shall  find  it  more  convenient  to  place  our 
sleepers  between  the  rails.  Therefore,  they  must 
all  be  flattened  and  accurately  cut  to  the  same 
length,  so  that  they  will  keep  the  two  rails  apart 
at  a  proper  distance.  This  distance  is  decided 
by  the  wheels  that  have  already  been  made. 
Fig.  5  illustrates  the  correct  position  of  the 
wheels  upon  the  lines,  so  that  it  will  be  seen 
that  the  required  length  of  sleeper  will  be  equal 
to  the  distance  between  the  extreme  edges 
of  the  flanges,  as  a-b.  Drill  two  holes  in  each 
sleeper  near  the  centre,  in  order  to  fasten  down 
to  the  board. 

Before  cutting  up  a  lot  of  metal,  we  advise 
the  amateur  to  cut  two  or  three,  and  temporarily 
fix  up  two  pieces  of  the  rail  described  above,  and 
then  see  that  his  wheels  will  run  freely  on  this, 
without  either  binding,  so  as  to  cause  unneces- 
sary friction,  or  fitting  so  loosely  as  to  allow  of 
play  between  the  lines ;  either  of  these  faults 
will  seriously  diminish  the  running  powers  of 
the  vehicles. 

Before  commencing  the  more  difficult  part, 
namely,  the  shunts,  it  will  be  well  to  make  up  all 
the  straight  lengths  that  will  be  required.  A 
simple  way  of  soldering  up  these  lengths  of  rail 


MODEL  RAILWAY  BUILDING. 


163 


is  shown  in  section  in  Fig.  6.  Nail  to  the  bench 
a  straight  piece  of  wood,  a  (section),  about  2  feet 
long,  and  having  a  true  upright  edge ;  against 
this  edge  lay  one  of  the  straight  pieces  of  brass, 
narrow  way  upwards  (b),  then  lay  three  sleepers 
(g)  on  the  broad  side  at  right  angles  to  b,  one 
at  each  side  and  one  in  the  middle.  The 
two  end  ones  should  be  about  J  inch  from 
the  ends  of  the  rails  (see  also  Fig.  7).  Having 
previously  seen  that  the  points  of  contact  are 
clean,  or,  better  still,  having  tinned  them,  with  a 
pointed  iron  (d),  solder  the  sleepers  to  the  rail, 
seeing  that  the  former  still  lie  flat  on  the  bench. 
Having  made  these  three  joints,  put  another  rail 
in  the  place  of  b,  put  the  other  three  ends 
against  that,  and  solder  up  as  before.  The  whole 
piece,  if  correctly  done,  will  now  be  as  Fig.  7. 
These  pieces  have  only  to  be  nailed  clown  to  the 
board,  carefully  fitted  end  to  end  without  any 
gaps,  and  we  have  a  considerable  portion  of  the 
permanent  way  completed.  Figs.  8,  9,  and  10 
will  serve  to  illustrate  the  manner  in  which  all 
shunts  or  points  are  made ;  and  if  once  mastered, 
any  number  of  points,  even  including  two  points 
uniting  at  one  spot,  may  be  made  on  precisely 
the  same  principle.  He  who  is  using  wood  for 
his  rails  will  be  saved  much  trouble  in  the 
matter  of  the  sleepers,  as  he  may  glue  or  pin  his 
rails  down  at  all  or  any  places;  but  he  who  uses 
metal,  will  have  to  exercise  his  discretion  in 
fixing  sleepers  in  convenient  places,  so  as  to 
firmly  solder  down  all  small  pieces  of  rail, 
diamond  points,  etc.  In  this  case  the  sleepers 
shoidd  not  be  between  the  rails,  but  underneath 
them,  and  it  may  perhaps  be  found  easier  to  lay 
beneath  the  lines  a  plate  of  metal  extending  far 
enough  each  way  to  receive  all  the  parts  to  be 
soldered,  in  place  of  three  or  four  sleepers.  To 
avoid  unevenness,  the  sleepers  or  plates  under 
the  rails  must  be  let  into  the  wood  board. 

Notice,  first,  that  each  of  the  rails  (a,  b,  c,  d)  is 
one  continuous  line  intact,  not  broken  by  the 
points ;  fix  these  firmly  in  place  first,  so  as  to 
be  able  to  gauge  the  other  lines  from  them. 
This  remark  applies  to  wood  rails  all  over  the 
course,  but  only  to  metal  rails  in  the  parts  where 
curves  and  shunts  are  concerned,  if  the  plan 
suggested  for  making  up  the  straight  pieces  has 
been  adopted.     The  curve  of  the  points  must  be 


very  gradual  from  end  to  end,  gracefully  falling 
into  the  straight  without  any  sharp  bends  or 
lumps,  and  preserving  throughout  the  most 
accurate  fit  to  the  gauge  of  the  wheels.  The 
work  will  be  facilitated  if  a  very  careful 
and  correct  plan  is  drawn  upon  the  wood, 
especially  drawing  hard  and  fast  lines  between 
which  the  wheels  will  run,  and  over  which 
nothing  must  be  allowed  to  project.  Next  make 
the  two  pieces  like  Fig.  10,  a  h  being  quite 
straight,  and  G  k  following  the  curve  of  the 
point.  The  join  at  g  must  be  well  and  sharply 
finished  off,  the  top  being  quite  flat  and  smooth. 
Fit  and  fix  these  in  their  places ;  then  make  the 
two  pieces  like  Fig.  9,  noticing  that  the  ends  at 
m  are  not  united,  and  that  the  ends  (m,  p)  are 
united  by  a  piece  (below  the  level),  which  is  short 
enough  to  keep  one  line  clear  inside  the  flange 
of  a  wheel,  while  the  other  wheel  rests  upon  the 
other  line  in  the  ordinary  way.  It  will  be 
plainly  seen  in  Fig.  8,  that  while  one  wheel  is 
running  over  the  straight  piece,  m  p,  there  must 
be  sufficient  space  between  the  curved  part,  m  n, 
and  the  line,  c  d,  to  allow  the  flange  to  pass 
without  striking.  The  ends,  m  (Fig.  9),  are  so 
turned  aside  as  to  form  a  guard  to  keep  the 
wheel  in  its  proper  place  when  crossing  the 
space  between  the  lines,  and  the  extremities  are 
turned  off  a  little  more,  so  as  not  to  offer  a  sharp 
end  which  might  catch  the  flange.  These  parts 
will  be  more  difficult  to  make  in  wood  than  in 
brass,  but  the  same  method  must  be  adopted, 
firmly  pinning  down  the  curves  and  short  pieces. 
Now  put  Fig.  9  in  its  place,  only  fastening  down 
the  ends,  m,  to  the  plate  or  sleeper  (or  in  the  case 
of  wooden  rails,  to  the  ground),  allowing  only 
sufficient  room  in  each  of  the  spaces  to  clear  the 
flanges,  taking  care  that  the  running  edges  of 
the  lines  form  straight  lines  or  even  curves,  as 
may  be  the  case,  without  any  uneven  projections. 
Fig.  9  may  also  be  fastened  down  to  another 
sleeper,  about  the  middle,  but  the  ends  n,  p, 
fixed  to  their  own  short  sleeper,  must  be  left 
loose,  so  that  they  may  be  pressed  against  either 
side  of  the  line.  For  safety,  a  small,  straight 
piece  of  line,  with  each  end  slightly  curved  away 
(e  and  f,  Fig.  8),  is  fixed  against  the  straight 
line  opposite  to  the  diamond  point  or  broken 
part  where  the  lines  cross,   and  space  must  be 


164 


MODEL  RAILWAY  BUILDING 


left  between  this]  guard  and  the  straight  line, 
just  sufficient  to  allow  the  flange  to  pass  without 
binding.  Now  will  be  more  readily  seen  the 
necessity  of  having  all  the  flanges  exactly  alike, 
and  not  unduly  thick.  In  this  manner  the 
whole  of  the  lines  may  be  laid  with  any  number 


the  short  sleeper  at  n,  p.  If  this  piece  of  wire 
passes  under  both  lines,  working  freely  in  the 
groove  in  the  board,  it  will  serve  to  keep  the 
loose  piece  at  the  same  level  as  the  fixed  rails, 
and  one  long  end  must  come  out  at  one  side  of 
the    permanent    way,    as    at   R,  r.       Here   the 


—  ~ —  ^ 

O 
0 


FIG.  7. 


F    p-T- 


FIG.  4. — SECTION  OF  SLEEPER  AND  CHAIR.  FIG.  5. — CORRECT 
POSITION  OF  WHEELS  UPON  LINES.  FIG.  6.— SIMPLE 
METHOD  OF  SOLDERING  UP  LENGTHS  OF  RAIL.  FIG.  7. 
— LENGTH  OF  RAILS  ATTACHED  TO  SLEEPERS.  FIGS. 
9,  IO. — ILLUSTRATING  THE  MANNER  IN  WHICH  ALL 
SHUNTS  OR  POINTS  ARE  MADE.      FIG.  II.— QUADRANT. 

of  double  or  single  shunts.  But  the  movable 
ends  of  the  points  must  not  be  left  loose  ;  they 
must  be  connected  with  the  levers,  supposed  to 
be  in  the  signal  box.  To  do  so,  cut  away  some 
of  the  wood,  say  J  inch  deep,  under  the  lines 
at  the  ends,  n,  b,  extending  on  each  side,  so  as 
to  be  able  to  pass  under  the  lines  a  piece  of 
wire  (or  wood),  which  must  be  attached  beneath 


builder  may  use  his  own  ingenuity,  and  extend 
his  work  into  an  elaborate  system  of  levers  and 
connecting  rods,  or  he  may  be  content  to  leave 
the  two  pieces,  r,  r,  projecting  in  such  a  manner 
that  he  may  work  them  with  his  fingers  without 


HINTS  ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


165 


any  more  apparatus.  "We  -will  give  a  slight  idea 
of  how  to  arrange  the  connecting  -wires,  and 
-then  pass  on.  An  elastic  ring  or  a  piece  of 
watch  spring  should  be  attached  to  the  pieces, 
b,  R  (Fig.  8),  in  such  a  manner  as  to  keep  the 
piece,  p,  pressed  against  the  straight  rail.  Here 
let  me  observe  that  the  ends  (p)  should  be 
gradually  thinned  away  to  nothing,  and,  also, 
just  at  the  extreme  end,  should  be  sunk  a  shade 
lower  than  the  straight  rail,  in  order  to  prevent 
the  flange  striking  the  point.  The  two  springs 
will  be  so  placed  as  to  act  in  opposite  directions, 
one  pushing  and  the  other  pulling.  By  means 
of  them  the  two  straight  roads  will  be  kept  open 
until  the  shunt  is  pulled,  so  as  to  open  the  curved 
road  ;  then  it  is  clear  that  the  two  ends  of  a 
shunt  must  be  so  adjusted  as  to  work  exactly 
at  the  same  moment.  The  simplest  way  to 
accomplish  this  is  to  use  the  same  method  that 
the  bell-hanger  adopts  to  get  his  wires  round 
corners.  Make  a  few  quadrants,  like  Fig  11,  to 
work  on  a  pivot  (such  as  a  nail  or  screw)  in  the 
angle,  and  place  two  of  these  as  at  q  (Fig.  8), 
attaching  one  end  to  n  by  means  of  a  pin  or 
pivot  fixed  to  e,  and  passed  through  a  hole  at 
the  end  of  the  quadrant,  and  the  other  end  to 
the  wire  to  the  lever,  the  direction  of  which 
is  indicated  by  an  arrow.  By  placing  these 
quadrants  in  opposite  positions  they  will  act  in 
opposite  directions,  one  pulling  open  one  shunt, 
and  the  other  pushing  open  the  other  shunt ; 
every  care  must  be  taken  to  adjust  these  so  as 
to  work  accurately  together. 

It  is  a  convenience  to  run  all  the  connecting 
wires  down  the  side  of  the  board  to  one  end, 
where  a  row  of  levers  can  be  fixed,  or  the  ends 
of  the  wires  merely  turned  up  and  placed  in  a 
row  of  grooves,  so  as  to  be  easily  pulled  by  the 
fingers,  thus  working  the  whole  apparatus  from 
one  spot. 

The  more  advanced  and  ingenious  worker  may 
build  signal  boxes  or  cabins  nsar  to  the  points, 
and  put  the  levers  alongside,  together  with 
the  signal  levers;  or  stations  may  be  built  at 
intervals,  and  the  levers  arranged  in  connection 
with  them.  These  are  minor  details,  which  may 
well  be  left  to  the  discretion  of  the  model 
builder ;  we  will,  however,  explain  the  working 
of  the  levers  later  on. 


HINTS   ON  HOUSE    DECORATION 
BY  PHOTOGRAPHY. 

By  R.  A.  R.  BENNETT,  B.A.,  President  of  the 
Photographic  Section  of  the  Oxford  Natural  History 
Society ;  Hon.  Sec.  of  the  Postal  Photographic  Club,  etc. 

(For  Illustrations  see  Folding  Sheet  presented  with  this  part.) 
III.  —  Hall  Lantern — Candle  Bracket  —  Medicine 
Cupboard— China  Cheese-stand — Flower  Bowl — 
Method  of  Mounting  Transparencies  —  Hand 
Screens  —  Fire  Screens  —  Hanging  Basket  — 
Jardiniere. 

SP5JN  the  last  chapter  I  referred  to  a  former 
article  on  making  a  hall  lamp  which 
could  be  ornamented  by  transparencies 
instead  of  the  usual  coloured  glass.  For  the 
benefit  of  those  who  have  not  got  that  volume, 
I  may  here  describe  a  simple  method  of  making 
a  lamp  specially  for  our  purpose.  The  pro- 
portions I  give  are  for  plates  half-plate  size  ;  of 
course,  any  dimensions  can  be  used  by  altering 
the  size  of  the  sides,  keeping  the  proportion  of 
the  relative  parts. 

Take  four  pieces  of  thin  wood — walnut  or 
mahogany  preferably,  as  these  are  as  little 
inclined  to  warp  as  any — and  cut  them  to  form 
the  sides  of  the  lantern,  9  inches  high  by  6-J- 
inches  broad.  In  the  centre  of  each  cut  a  hole 
for  a  transparency,  about  6j  by  4J  inches, 
fastening  small  slips  of  wood  round  three  sides 
inside  the  lamp,  with  grooves  into  which  the  glass 
can  be  afterwards  slipped  from  the  top.  It  is 
preferable  to  have  room  for  two  glasses,  one  to 
protect  the  film  of  the  transparency.  You  can 
get  the  right  size  by  inserting  two  old  negative 
glasses  in  the  grooves  while  you  are  constructing 
the  holder.  The  four  sides  can  now  be  fastened 
together  with  small  brads.  To  make  them 
more  secure,  you  should  have  four  pillars,  one 
at  each  corner ;  these  are  made  by  cutting  four 
rollers  of  wood  the  right  length,  and  cutting 
out  a  right-angled  piece  along  their  length ;  the 
corners  of  the  sides  will  then  slip  into  this 
space,  and  the  pillars  can  be  fastened  to  them 
with  very  small  screws.  To  the  bottom  of  the 
pillars  are  afterwards  screwed  small  brass  feet, 
for  the  sake  of  ornament.  The  pillars  must  be 
very  firmly  fixed  to  the  sides,  as  the  weight  of 
the  lantern  rests  mainly  on  them.  To  hoM  the 
sides  more  firmly  together  at  the  top,  and  by 


166 


HINTS   ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


way  of  additional  ornament,  a  band  of  sheet 
brass,  about  an  inch  wider  than  the  height  of 
the  side  above  the  transparency,  can  be  bent 
round  the  framework,  thus  binding  it  together. 
The  top  of  this  sheet  brass  is  cut  in  any 
ornamental  manner  that  may  suggest  itself  to 
the  worker,  and  projects  above  the  sides ;  the 
ends  of  the  band  are,  of  course,  soldered  together. 
Now  take  four  pieces  of  small  brass  rod,  about 
10  inches  long,  and  bend  them,  so  that  when  each 
is  fastened  to  the  top  of  one  of  the  pillars,  they 
will  all  nearly  meet  in  the  centre  above  the 
lantern.  A  circular  rosette,  with  a  ring  attached 
for  suspending  the  lantern,  forms  the  centre, 
and  to  it  they  are  all  soldered  in  as  ornamental 
a  manner  as  may  be.  From  the  centre  of 
the  rosette  is  suspended,  by  a  small  chain,  a 
glass  bell,  which  will  be  above  the  lamp 
inserted  to  give  light  in  the  lantern,  and  so 
keep  the  heat  from  the  roof  and  from  the  top 
of  the  lantern.  The  brass  rods  are  fastened  by 
screws  to  the  pillars.  If  four  small  brass  knobs 
can  be  screwed  to  the  ends  of  the  rods,  and 
screws  put  through  these  to  the  pillars,  it 
will  look  handsomer. 

Up  to  this  time  we  have  made  no  provision 
for  the  support  of  the  lamp.  Perhaps  it  would 
be  better  to  do  this  earlier  in  the  proceeding 
when  putting  the  sides  together.  A  piece  of 
wood  6^  inches  square  will,  of  course,  exactly 
fit  the  bottom,  and  can  be  fixed  to  the  bottoms 
of  the  sides  with  small  brads  or  screws.  But 
in  this  bottom  you  must  cut  four  holes  about 
1  inch  in  circumference,  equidistant  from  the 
centre,  or  enough  air  will  not  get  into  the 
lantern  for  the  lamp  to  burn  properly. 

Now  the  transparencies  and  cover-glasses 
have  to  be  slipped  in,  and  the  lantern  is 
complete.  If  the  transparencies  are  too  clear 
in  the  shadows,  pieces  of  fine  ground-glass 
should  be  used  to  spread  the  light  over  their 
whole  surfaces,  which  gives  a  much  better  effect. 
The  transparencies  must  have  their  film  sides 
outwards,  or  the  pictures  will  be  reversed, 
which  is  apt  to  puzzle  a  person  who  has  been  to 
the  places  portrayed  ;  right  being  left,  and  left 
right.  I  havo  made  no  provision  in  this  lantern 
for  inserting  the  lamp  when  standing  below 
the  lantern,   but  it  is  easily  done  by  making 


one  of  the  sides  to  open,  or  by  cutting  a  frame- 
work for  the  transparency,  and  mounting  it  on 
hinges  fastened  to  one  side  in  its  proper  place  ; 
or  simpler  still,  by  simply  pulling  up  the  trans- 
parency in  the  groove,  to  allow  the  lamp  to  be 
placed  in  through  its  hole,  and  letting  it  down 
again  when  the  lamp  is  inside.  The  general 
appearance  of  the  lantern  when  finished  is 
shown  in  Fig.  11,  which  will  also  explain  the 
construction  of  its  various  parts. 

As  I  am  now  on  the  subject  of  apparatus  for 
giving  light,  I  will  describe  another  easily  made 
and  ornamental  adjunct  to  the  drawing-room. 
Take  a  piece  of  thick  mahogany  or  other  orna- 
mental wood  a  foot  square,  or  any  other  size 
that  may  commend  itself  to  you;  draw  lines  to 
form  another  square  inside  it,  the  sides  to  be 
about  \  inch  from  the  side  of  the  wood,  which 
must  then  be  bevelled  off  to  look  ornamental. 
Now  recess  a  square  into  the  centre,  in  which 
we  can  afterwards  place  a  mirror,  about  4  inches 
square ;  this  is  easily  done  by  drawing  four 
sides  of  a  square,  each  distant  4  inches  from  the 
edge ;  and  round  this  recess  eight  more  small 
holes,  each  3  inches  square.  The  mirror  is  now 
placed  in  the  centre,  and  neatly  fastened  by 
slips  of  wood,  with  bevelled  edges,  round  it.  In 
the  eight  small  squares  you  can  fix  ordinary 
silver  prints,  bromide  prints,  opals,  ivory  films, 
or  whatever  may  take  your  fancy.  Two  small 
brass  holders  are  now  fastened  to  the  top  of  the 
back,  and  two  brass  candle  holders  to  the  edge 
of  the  frame  at  the  bottom  in  front,  and  you 
have  the  candle  bracket  (Fig.  12)  which  one 
often  sees  in  the  shops,  but  not  ornamented  so 
elaborately  as  this. 

Medicine  cupboards  are  very  useful  pieces  of 
furniture  for  bedrooms  or  elsewhere,  serving  to 
hide  the  ugly  forms  of  bottles  containing  castor 
oil,  syrup  of  rhubarb,  or  other  necessary  but 
unpleasant  remedies.  The  cupboard  can  be 
made  into  "  a  thing  of  beauty  and  joy  for  ever  " 
by  ornamenting  the  panels  with  transferotypes, 
opals,  prints  on  albumenised  paper,  or  other 
processes.  Fig.  13  represents  a  cupboard  orna- 
mented in  this  way.  It  consists  of  two  shelves, 
each  1  foot  %\  inches  long  by  h\  inches  wide, 
the  bottom  one  forming  the  top  of  the  cupboard. 
The  sides  are  1   foot  10 J  inches  from  highest 


HINTS   ON  HOUSE  DECORATION  BY  PHOI'OGRAPHY. 


167 


point  to  lowest,  and  are  5^  inches  wide.  The 
length,  of  each  door  is  10A  inches,  and  its  width 
8£  inches.  The  wood  is  preferably  oak,  and 
should  be  well  seasoned  before  use,  so  that  the 
doors  will  not  warp  and  refuse  to  shut,  which  is 
an  abominable  nuisance.  I  speak  from  bitter 
experience !  The  wood  may  be  f  inch  thick 
throughout.  The  shelf  forming  the  bottom  of 
the  cupboard  is,  of  course,  the  same  size  as 
the  other  two.  Now  we  come  to  the  photo- 
graphic part  of  the  business.  Spaces  can  be 
recessed  into  the  doors ;  either  one  large  one  in 
each,  nearh-  whole  plate  size,  say  8  by  6  inches, 
or  two  upright  ones,  each  6  by  4  inches,  or  one 
half-plate  size  in  each,  leaving  a  broad  margin. 
At  the  sides  you  can  insert  two  quarter-plates 
on  each,  as  shown  at  b  and  c  in  the  Fiff.,  and, 
if  the  top  of  the  cupboard  is  to  be  devoted  to 
ornaments,  you  can  put  circular  prints  recessed 
in  at  a,  or  omitting  b,  and  putting  a  larger  print 
at  c,  and  more  in  the  middle  of  the  side,  you 
can  have  transparencies  fixed  in  holes  cut  right 
through  the  sides  at  a,  and  the  corresponding 
position.  These  will  show  quite  well  if  the 
cupboard  is  placed  near  a  window. 

"We  now  come  to  two  china  objects  which 
can  well  be  ornamented  by  means  of  transfero- 
types.  The  china  cheese  stands  sold  in  the 
shops  can  be  rendered  artistic  by  transferring 
pictures  round  the  upright  portion,  which 
should,  of  course,  be  of  plain  china  when 
bought.  As  these  articles  do  not  have  to  be 
washed  very  often,  the  difficulty  as  to  washing 
the  transfers  is  easily  got  over ;  they  should 
have  a  coat  or  two  of  dammar  varnish  to  protect 
them,  and  will  then  last  for  some  time.  Fig.  14 
shows  a  cheese  stand  thus  ornamented. 

The  hexagonal  china  fern  or  flower  bowls 
sold  in  the  shops,  having  flat  sides,  lend 
themselves  readily  to  ornamentation  by  transfers. 
The  method  hardly  needs  explanation,  and 
Fig.  15  will  show  their  appearance  when 
finished;  but  the  same  figure  will  serve  to 
show  the  construction  of  another  ornament, 
which  is  also  very  pleasing  to  look  at.  Six 
pieces  of  wood  can  be  cut  to  the  shape  of  the 
side  shown  in  front  in  Fig.  15,  the  wood  being 
about  \  inch  thick,  walnut  or  oak  preferably  • 
the  sides  from  the  top  edge  to  the  bottom  of  the 


legs  can  be  8  inches  for  half-plates,  or  5£  inches 
for  quarter-plates,  and  the  width  5J-  inches  for 
half-plates,  or  4}  inches  for  quarter-plates.  A 
hexagonal  piece  of  wood,  with  sides  5|  or  4J- 
in3h.es,  will  form  the  bottom.  It  must  have 
holes  cut  in  it  if  the  sides  are  deep,  but  they 
will  not  be  required  for  a  night-light.  You 
can  now  fasten  six  transparencies  on  the  sides, 
cutting  a  hole  quarter-plate  or  half-plate  size 
in  each  side,  and  fastening  the  transparencies 
on  the  inside  by  grooved  slips  of  wood.  Tou 
have,  in  fact,  made  a  lantern  which  will  stand 
on  the  table  instead  of  hanging  from  the  ceiling. 
Inside  the  lantern  you  can  put  a  small  paraffin 
lamp,  and  the  result  is  a  very  pretty  ornament. 
In  the  small  size  (quarter-plate)  you  can  put  an 
ordinary  night-light,  instead  of  using  the  often 
unsightly  saucers ;  of  course,  the  night-light 
must  be  in  water,  or  a  glass,  as  usual,  or  if  it 
burns  down  and  sets  the  wood  on  fire,  it  will  be 
all  up  with  your  ornament,  and  perhaps  with 
you  also ! 

I  may  here  parenthetically  remark  that 
all  these  small  objects  make  most  acceptable 
Christmas-boxes,  or  birthday  gifts,  and  are 
sure  to  be  especially  pleasing  to  the  recipients 
if  scenes  known  to  them,  or  portraits  of  friends 
or  the  giver,  are  used  for  the  ornamentation. 

The  possessor  of  a  house  in  which  there  are 
fire-places  surrounded  by  Minton's  tiles  set  in 
the  mantelpieces,  has  a  vast  scope  for  his  deco- 
rative instincts.  These  tiles  can  be  replaced  with 
opals,  with  views,  etc.,  painted  on  them,  or  the 
tiles  can  be  used  to  receive  transfers  by  the 
transferotype  process,  or  the  autotype  process- 
This  latter,  as  it  is  capable  of  producing  prints 
in  any  shade,  is  a  great  acquisition.  Materials 
and  full  instructions  can  be  obtained  from  the 
Autotype  Company,  Brownlow  Road,  EaliDg 
Dene,  Middlesex.  The  process  is  simplicity 
itself,  as  it  is  only  necessary  to  print  on  the 
prepared  paper,  transfer  to  the  "final  support," 
and  wash  with  hot  water  till  the  picture  appears. 
There  is  only  one  "  little  rift  within  the  lute,'' 
and  that  is  that  unless  the  process  of  "  double 
transfer "  is  gone  through,  the  prints  are  re- 
versed, as  with  transferotype  paper.  The 
autotjpe  process  gives  you  a  wonderful  range 
of  tone :  red  chalk,  engraving  black,  purple  of 


168 


HINTS  ON  HOUSE  DECORATION  BY  PHOTOGRAPHY. 


two  shades,  standard  brown,  etc.  ;  and  therefore 
you  can  make  your  tiles  proportionally  diver- 
sified in  colour.  Of  course  the  picture  can  be 
painted,  in  addition,  if  desired.  The  tiles  should 
have  a  coat  or  two  of  varnish  to  preserve  them 
from  injury,  and  render  it  possible  to  wash  them 
slightly  when  dirty.  Tiles  used  for  other  pur- 
poses, such  as  stands  for  teapots,  or  to  ornament 
the  back  of  washstands,  etc.,  may,  of  course,  be 
treated  in  the  same  way. 

In  the  first  chapter  I  suggested  that  a  window 
with  an  unpleasing  look-out  could  be  covered 
with  transparencies  to  hide  it.  The  lower  panes 
of  the  windows  of  bedrooms,  and  of  living- 
rooms  also  in  towns,  may  be  treated  in  this 
fashion  as  an  agreeable  and  interesting  alterna- 
tive to  the  short  blinds  of  wicker-work,  etc., 
which  are  commonly  used. 
Another  plan  of  mounting  the 
photos  has  been  suggested  to 
me,  and  is  worth  noticing. 
Begin  by  fastening  an  extra 
glass  (ground-glass  is  best) 
to  the  transparency,  for  the 
protection  of  the  film.  This  is 
easily  don  e  by  stick  ing  gummed 
paper  round  the  edges,  narrow 
enough  not  to  show  when 
finished.  Prepare  a  frame  of 
strong  cardboard  (Kg  16,  a), 
the  hole  in  the  centre  being  the 
exact  size  of  the  transparency ;  cover  this  with 
plush,  making  the  thickness  of  the  frame  equal 
to  the  thickness  of  the  transparency  and  its  glass. 
Prepare  two  more  frames  the  same  size  externally 
as  the  former,  but  the  holes  in  the  centre  being 
a  very  little  smaller  than  that  in  the  first  frame, 
and  cover  these  also  with  plush.  Glue  these 
three  together,  the  frame  in  which  were  fixed 
the  two  glasses  being  in  the  middle,  and  insert 
two  pieces  of  ribbon  containing  rings  between  the 
frames.  Screw  some  small  hooks  into  the  frame  of 
the  window,  and  on  these  suspend  the  transpar- 
ency by  means  of  the  rings.  It  might  be  thought 
that  it  would  be  needful  to  fix  the  transparencies 
also  at  the  bottom,  but  I  know  of  some  which 
have  been  thus  suspended  for  years,  and  they 
have  neither  broken  the  window  nor  been 
damaged  themselves,    though   they  have   been 


exposed  to  frequent  gales  of  wind.  I  hope  the 
readers  of  Amateur  Work  are  of  too  tidy  a 
nature  to  render  it  necessary  to  add  that  the 
plush  should  be  glued  on  to  the  frames  in  such 
a  position  that,  when  they  are  fastened  together, 
the  joins  may  be  inside,  between  them,  and 
therefore  hidden.  By  a  slight  modification  of 
this  plan,  we  can  mount  four  or  more  photos  in 
one  frame,  so  as  to  fill  a  window  which  has  very 
large  panes.  Fig.  1 6  (b)  shows  the  frame  when 
completed,  the  dotted  line  indicating  the  position 
of  the  transparency  and  the  glass  in  front  of  it. 
Fire  screens  are  objects  which  readily  lend 
themselves  to  decoration  by  means  of  photo- 
graphy. Supposing  that  we  have  two  of  the 
ordinary  hand  screens  sold  in  the  shops,  we  can 
cut  out  a  central  hole,  and  fill  the  vacancy  thus 
made  with  a  celluloid  trans- 
parency, or  a  paper  positive 
printed  in  the  same  way  ;  or 
we  can  make  the  screens  for 
ourselves,  by  cutting  out  two 
pieces  of  cardboard  with 
central  holes,  and  glueing 
them  together  with  the  edges 
of  the  transparency  between 
them.  Fig.  17  shows  two 
hand  screens  thus  treated. 
The  cardboard  round  the  edge 
can,  of  course,  be  illuminated 
to  any  extent,  which  the  skill 
of  the  operator  will  determine.  The  solid  part 
of  the  screen  may  be  fretwork,  or  of  wood 
ornamented  in  that  way  round  the  edge ;  in  the 
former  case  leaving  a  plain  rim  about  1  inch 
broad,  to  which  the  transparency  can  be  fixed. 

Now  for  the  same  idea  on  a  larger  scale.  Fig. 
1 8  shows  a  more  substantially  constructed  screen, 
which  is  really  an  ornament  to  any  drawing- 
room.  The  whole  framework  of  this  can  be 
made  of  stout  mahogany  (well  seasoned,  so  as 
not  to  warp  when  placed  before  the  fire),  the 
frame  of  each  transparency  being  about  an 
inch  broad.  This  is,  of  course,  carved  and 
ornamented  ad  lib.,  according  to  the  taste  of  the 
maker.  A  wooden  frame,  with  three  stout  legs, 
supports  the  screen,  standing  on  the  floor.  A 
more  elegant  method  of  construction  is  that 
shown  in  the  picture,  where  the  inside  frame 


B 

IO. —  METHOD  OK  MOUNTING  TRANS- 
PARENCIES IN  PLUSH  ;  A,  INNER  FRAME 
TO  HOLD  TRANSPARENCY  ;  B,  FRAME 
COMPLETE.  DOTTED  LINES  SHOW  POSI- 
TION   UP  TRANSPARENCY. 


HO  W  TO  MAKE  A   LE  YDEN  JAR. 


169 


consists  of  ornamented  wood,  fitting  into  an 
outer  frame  constructed  of  brass  rods,  soldered 
together  at  the  corners,  three  at  the  bottom 
forming  the  legs.  "Weight  in  this  case  being 
of  no  account,  the  transparencies  may  be  glass, 
with  ground  or  plain  glass  to  protect  the  films 
from  the  heat,  and  fastened  in  with  bevelled 
slips  of  wood  at  the  sides,  as  in  the  previous 
cases.  The  holes  cut  in  the  frames  must  not  fit 
the  glass  too  tightly,  for,  as  glass  expands 
considerably  under  the  influence  of  heat,  it  may 
be  fractured  unless  room  is  allowed  it. 

Fig.  19  shows  a  hanging  basket  for  flowers, 
made  of  four  sides  of  wood,  or  better,  iron,  with 
china  plaques  let  into  the  centres,  on  which 
transfers  can  be  made ;  or  opals  can  be  used. 
which  have  been  previously  printed  in  the 
ordinary  way.  If  the  frame  is  iron,  and  opals 
which  "print  out"  (like  silver  albumenised 
paper)  are  used  (the  "Snowdrift"  opals,  made 
by  Messrs.  Percy  Lund  &  Co.,  are  of  this  class), 
the  earth  and  flowers  can  be  placed  directly  in 
the  basket ;  if  not,  pots  must  be  used,  or  the 
wood  and  the  films  of  the  opals  will  be  ruined 
when  the  flowers  are  watered.  Pots  can,  of 
course,  be  removed  for  this  purpose. 

But  I  have  given  so  many  hints  as  to  objects 
to  be  decorated,  that  I  really  think  readers  must 
be  getting  quite  tired  of  the  subject;  I  will,  there- 
fore, wind  up  with  a  concluding  piece  of  furniture 
of  a  more  than  usually  elaborate  description. 

Take  four  pieces  of  ornamental  wood,  say  2 
feet  long,  \\  inches  broad,  and  §  inch  thick. 
You  will  now  want  four  more,  say  9  inches 
long  and  \\  inches  square.  These  pieces,  when 
fastened  at  the  corners,  will  obviously  form  a 
frame,  or,  rather,  a  kind  of  hollow  box  without 
sides.  Two  more  pieces,  of  the  same  kind  as 
those  forming  the  corners,  and  the  same  length, 
but  only  |  inch  thick,  to  match  the  top  and 
bottom  pieces,  are  fastened  in  the  middle  of 
each  of  the  longest  sides,  equidistant  from 
the  end  pieces  and  from  themselves.  Now 
we  have  eight  squares  round  the  sides,  and 
these  we  fill  with  wooden  squares  about  half 
an  inch  thick.  In  the  centres  of  these  we  cut 
panels  about  \  inch  deep,  and  in  these  we  put 
opals  or  opalines.  Pound  the  edges  we  glue 
plush,  and  a  very  elaborate  ornament  is   the 


result.  A  tin  box,  made  the  exact  size  to  fit  into 
the  frame  thus  constructed  (of  course,  without  a 
lid),  enables  flower-pots  to  be  placed  in  it. 

In  Fig.  20  we  have  a  rustic,  wickerwork,  or 
bamboo  jardiniere,    constructed  exactly  in  the 
manner  described,  as  far  as  the  top  is  concerned ; 
and    the    illustration  will,    therefore,    serve  to 
elucidate   my  description.     This   jardiniere   is, 
however,  capable  of  standing  some  height  from 
the     ground,    the    four    corner    pieces     being 
prolonged   to   form   legs,    and   a   bottom   shelf 
j  being  added.     Supposing  we  have  one  of  these, 
I  we  can  fill  the  panels  with  opals,  or  transfers  on 
I  china  plaques  ;  and  if  the  bottom  is  lined  with 
!  tin,  painted  to  withstand  water,  this  will  also 
hold  flower-pots,  and  form  a  beautiful  drawing- 
room  ornament.     The  plaques,  or  opals,  can  be 
I  mounted  in  plush,  as  directed  for  the  window 
transparencies  (the  back  frame,  of  course,  not 
needing  to  have  a  hole  cut  in  it  in  this  case),  and 
glued  to  the  centre  of  their  respective  panels. 

I  have  now  given  sufficient  examples  of 
"house  decoration  by  photography"  to  show 
hove  very  largely  our  "  art-science"  may  be  made 
to  contribute  to  the  beauty  of  our  every-day 
surroundings ;  and  I  will  leave  my  readers  to 
devise  other  plans  for  themselves,  wishing  them 
all  success  in  carrying  out  the  ideas  I  have 
suggested,  and  whatever  further  notions  their 
ingenuity  may  invent. 


HOW  TO  MAKE  A  LEYDEN  JAR 

By  ELECTRON. 

HE  Leyden  jar  is  used  for  storing  or 
receiving  charges  of  electricity,  and 
when  fully  charged  is  discharged  by 
by  means  of  an  instrument  called  a  discharger. 
It  may  be  made  with  one  of  the  wide-necked 
jars  used  for  holding  jam ;  they  are  3f  inches 
diameter,  6  inches  high,  with  1\  inches  opening 
in  the  neck.  The  inside  of  the  jar  for  two-thirds 
up,  and  the  bottom,  should  be  covered  with  tin- 
foil ;  the  bottom  should  first  be  covered,  levelling 
the  foil  with  a  soft  brush  ;  then  cover  the  sides  in 
two  or  three  pieces,  the  edges  overlapping  each 
other,  and  also  cover  the  outside  to  the  same 
height  as  the  inside  with  tinfoil.  It  must  be 
fixed  both    inside  and    outside  with  glue,  and 


170 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


where   jointed   should   overlap  so  as   to  get  a 
complete  covering  round  the  jar. 

When  the  glue  is  quite  dry,  get  a  large  cork 
to  fit  the  opening  in  the  jar  (the  cork  must  not 
have  been  used),  fit  it  into  the  neck,  and  pare 
the  top  off  level  about  £  inch  above  the  glass  ; 
then  fix  in  the  centre  a  piece  of  brass  rod,  6  inches 
long,  with  a  brass  ball  f  inch  diameter  on  the 
top  (the  rod  should  be  Tsff  inch  diameter)  ;  bore  a 


LEYDEN   JAK. 

small  hole  in  the  centre  of  cork,  and  push  the 
rod  tightly  through,  leaving  the  ball  2  inches 
above  the  cork.  Fix  a  piece  of  brass  chain,  3 
inches  long,  to  the  lower  end  of  rod,  and  fix  the 
cork  in  the  jar,  allowing  the  chain  to  rest  on  the 
tinfoil  at  the  bottom  of  jar,  and  coat  the  top 
side  of  cork  with  red  sealing  wax  dissolved  in 
methylated  spirits,  and  when  quite  dry  the  jar 
is  ready  for  use. 

The  discharger  has  two  curved  arms  of  brass, 


hinged  at  one  end,  and  with  a  brass  ball  at  the 
other  end.  The  handle  is  made  of  glass,  to 
insulate  the  person  discharging  the  jar;  one  ball 
is  applied  to  that  on  the  jar,  and  the  other  to 
the  outer  coating  of  tinfoil,  when  the  jar  is 
discharged,  giving  a  large  spark. 


HOW 


TO    MAKE-UP 
THE    STAGE. 


FOR 


By  PROFESSOR  LIONEL  ARTHUR. 


IX. — Making-up  for  various  Characters  (continued) 
— The  Drunkard — Types  of  the  Different  Nations  : 
Scotch,  Irish,  French,  Germans,  Russians,  Italians, 
Spaniards,  Portuguese,   Danes  and  Wallachians. 

E  will  next  say  a  few  words  on  the  make- 
up for  drunkards,  a  very  wide  class  ; 
and  here  again  the  actor  has  a  splendid 
chance,  if  he  only  knows  how  to  make  use  of  it. 
Mr.  C.  Harrison,  in  his  little  work  on  "  Thea- 
tricals and  Tableaux  Vivants,"  speaks  as  follows 
on  this  subject: — "Some  say  that  in  making 
up  for  a  drunkard,  it  is  essential  to  illustrate 
the  characteristics  of  that  class ;  this  is  true, 
ergo,  the  red  nose  and  the  glowing  cheeks 
constitute  the  average  make-up  for  the  stage 
tippler.  But  there  are  drunkards  in  real  life 
who  go  on  drinking  for  years  and  years,  and 
whose  countenauees,  to  the  ordinary  observer, 
are  free  from  any  blemish  that  drink  might 
cause.  Therefore,  if  anyone  has  to  attempt  the 
difficult  role  of  a  drunken  man,  he  should  make 
up  as  little  as  possible.  The  ruffled  hair,  the 
unshaven  chin,  the  neck-tie  awry,  the  sleepy 
appearance  of  the  eyes,  the  businesslike 
manner  imitated  with  bad  grace,  the  nervous 
trembling  of  the  hands,  and  the  numerous 
little  things  inseparable  from  an  habitual 
drunkard,  are  sufficient  evidences  of  an  affection 
for  the  bottle,  without  grossly  disfiguring 
nature  by  the  abuse  of  rouge."  This  little 
paragraph  took  my  eye  some  years  ago,  and  I 
have  carefully  preserved  it  ever  since.  But 
rouge  does  not  in  itself  constitute  the  make-up 
of  this  or  any  other  character,  as  the  writer 
seems  'to  imply.  He  also,  it  will  be  observed, 
advises  that  the  make-up  for  a  drunkard  should 
be  as  slight  as  possible,  yet  in  the  very  next 


HOW  TO  MAKE-UP  FOR    THE   STAGE. 


171 


paragraph  he  gives  suggestions — and  good  ones 
too — for  a  very  minute  and  elaborate  make-up. 
For  what  are  the  "the  ruffled  hair,  the 
unshaven  ehin,  the  sleepy  eyes,  the  awry  neck- 
tie," and  the  other  traits,  so  well  put,  "but  very  ! 
essential  aids  in  the  make-up  of  such  a 
character?  Too  much  rouge  should  not  be 
used  on  the  face,  it  is  true,  and  the  man 
who  persists  in  its  abuse  is,  at  the  best,  a  poor 
artist.  Having  quoted  Mr.  Harrison,  I  may 
perhaps  add  to  his  remarks  by  giving  his 
method  of  making  up  for  this  class  of  character. 
First,  let  the  face  receive  its  coating  of  wig 
paste  (grease  paint)  of  a  dark  flesh  shade,  and 
the  hollows  of  the  eyes  be  darkened  with  the 
same  material,  but  of  a  light  brown  colour.  If 
to  represent  an  elderly  man,  then  a  straggling 
grey  wig  should  be  worn,  either  bald  or  half 
bald.  The  unshaven  chin  is  also  effective  in  a 
make-up  of  this  kind.  The  expression  of 
tipsy  arrogance  may  be  caught  by  faint  umber 
lines  being  painted  from  the  corners  of  the 
mouth  downwards,  and  a  shading  of  light 
brown  just  beneath  the  lower  lip.  If  whiskers 
are  to  be  worn,  then  they  should  be  of  a 
straggling  and  unkempt  appearance.  They  can 
be  made  of  crepe  hair  of  any  shade. 

Types  or  Mankind,  and  how  to  reproduce  them. 

Scotchmen  are,  as  a  rule,  fair  with  a  florid 
complexion,  the  northern  inhabitants  present- 
ing the  characteristics  of  the  ancient  Celts — 
fair  hair  and  blue  eyes.  In  the  western  portions 
of  the  country,  the  usual  features  are  dark 
brown  straight  hair,  complexion  somewhat 
dark,  and  grey  eyes.  The  typical  stage  Scotch- 
man has  a  fair  complexion  with  sandy  hair, 
according  to  Mr.  C.  H.  Fox,  whose  directions  we 
give  at  the  end  of  each  character.  For  the 
complexion  use  fuller's  earth,  mixing  with  it  a 
little  carmine,  put  a  deeper  colour  on  the  cheek- 
bones. Fair  or  sandy  wig :  anyone  possessing 
dark  whiskers  may  make  them  fair  by  rubbing 
them  with  wig  paste,  and  slightly  powdering 
them  with  chrome-yellow  or  Dutch  pink. 
When  grease  paints  are  used,  proceed  as 
follows  :  Complexion — No.  2  bright  colour  on 
cheeks.  Hair — sandy,  short  and  wavy,  mutton- 
chop  sandy  whiskers.   Powder — white  or  pink. 


Irishmen. — The  Irish  are  something  like  their 
neighbours  the  Scotch,  but  have  a  somewhat 
more  ruddy  appearance  ;  they  have  light  brown 
hair,  and  blue  or  light  eyes.  Powder  the  face 
and  neck  with  fuller's  earth,  heighten  up  the 
countenance  with  some  light  touches  of  rouge, 
making  the  colour  a  little  more  marked  on  the 
cheek-bones.  Put  in  the  line  under  the  eye- 
lashes a  little  bolder  than  usual,  touch  up  the 
eyebrows,  and  make  the  eyes  generally  as 
sparkling  and  merry  as  possible.  Use  powder- 
blue  on  the  chin,  sides  of  face,  and  throat.  A 
curly  or  scratch  wig  is  worn,  and  in  some 
characters  a  slight  amount  of  side  whisker,  kept 
high  up.  This  make-up  is  for  such  characters 
as  Conn,  Danny  Mann,  etc. ;  for  heavy  Irish 
villains,  such  as  Black  Mullins,  Harvey  Duff, 
etc.,  proceed  as  follows : — Powder  the  face  as 
before,  but  colour  the  powder  with  a  slight 
amount  of  Dutch  pink.  Put  in  a  strongly 
marked  line  beneath  the  lower  eyelashes,  and 
some  well-marked  crow's-feet,  proceeding  in  an 
upward  direction ;  rub  the  brown  grease  paint 
well  into  the  hollow  under  the  eyebrows,  and 
into  the  hollows  of  the  eyes,  to  give  them  a 
tierce  and  determined  appearance.  The  eyelids 
and  the  marked  indent  just  beneath  the  eyes 
should  have  a  slight  tinge  of  rouge  applied, 
and  the  chin,  throat,  and  sides  of  face  must 
receive  a  rather  plentiful  sprinkling  of  prepared 
blue,  to  give  the  face  an  unwashed,  unshaven 
appearance.  Some  heavy,  overhanging,  black 
eyebrows  must  be  stuck  on,  and  a  black  wig  put 
on,  when  an  effective  make-up  will  be  obtained. 

Fox's  Instructions. — Complexion :  No.  3  or  5 
and  10,  very  little  rouge.  Hair:  dark  short, 
small  side  whiskers  may  be  worn.  Powder : 
white  or  prepared  fuller's  earth. 

Welsh. —  Complexion  :  brunette  and  black 
eyes. 

American.  —  The  American  people  closely 
resemble  the  English,  as  is  only  natural,  being 
direct  descendants.  By  intermarriage,  however, 
with  Indians  they  have,  to  a  large  extent, 
acquired  the  high  cheek-bones,  and  the  short 
chin  and  nose  which  is  so  characteristic  of  the 
South  American  Red  Indians.  The  "  stage 
Yankee "  is  nearly  always  considerably  over- 
drawn and  exaggerated  in  this  country  ;  whether 


172 


HOW  TO  MAKE-UP    FOR    THE   STAGE. 


it  be  male  or  female,  in  almost  every  case  tnis 
defect  is  apparent.  In  plays  such  as  "The 
Octoroon,"  one  naturally  looks  for  a  little  high 
colouring,  but  when  we  come  to  the  upper 
classes  of  modern  society,  there  is  but  very  little 
difference  between  an  American  and  a  good 
old  English  gentleman,  therefore  the  make-up 
should  be  about  the  same.  An  imperial  may, 
perhaps,  be  worn,  and  whiskers  dispensed  with. 
For  the  melodramatic  slave-owning  Yankee,  we 
can  allow  a  little  licence  and  make-up  in  a  more 
picturesque,  if  more  imaginative,  manner.  For 
slave-owners,  planters,  adventurers,  etc.,  use  the 
fuller's  earth  and  Dutch  pink ;  making-up 
for  a  sallow  complexion,  put  a  colouring  of 
rouge  on  the  cheek  bones,  under  the  eyes,  and 
on  the  chin.  Stick  on  the  chin  the  usual 
tuft  of  hair,  and  apply  powder-blue  over  the 
upper  lip  and  sides  of  face,  to  give  an  un- 
shaven appearance  to  the  parts  where  the 
moustache  and  whiskers  should  be.  This  blue 
must  be  used  sparingly  here.  A  wig  with 
long  straight  hair  is  worn.  For  a  Yankee  with 
a  dark  complexion  use  ruddy  rouge  or  dark 
flesh  grease  paint,  have  black  eyebrows  and  long 
straight  black  wig  ;  keep  the  hair  on  the  chin 
close  under  the  lower  lip,  and  let  the  lines 
proceeding  from  the  mouth  be  painted  in  a 
downward  direction.  Of  course,  the  usual  lines 
for  maturity  or  manhood  have  all  got  to  be 
put  in  as  usual,  according  to  the  directions 
given  in  a  former  chapter. 

Fox' 's  Method. — Complexion:  Nos.  5J  and  10, 
high  light  on  cheek  bones ;  eyes  sunk  with  No.  8. 
Hair :  long,  straight,  brown,  brushed  from  the 
forehead ;  slight  chin  beard,  with  or  without 
moustache.     Powder :  fuller's  earth. 

The  French. — According  to  the  "Peoples  of 
the  World,"  there  is  in  France  a  northern  race, 
tall  in  stature,  with  fair  hair,  light  eyes,  and 
oval  head,  occupying  about  a  fifth  of  the 
country,  while  south  of  the  Loire  the  people  are 
for  the  most  part  comparatively  of  low  stature, 
with  dark  eyes  and  hair,  and  round  head ;  their 
area  being  about  three-fifths  of  the  total  space. 
Between  these  regions  there  lie  a  mixed  people. 
The  make-up  for  French  characters  is  much  the 
same  as  for  English,  the  following  special 
features   only   being    introduced,   namely,   the 


moustache  with  the  ends  curled  or  soaped  out 
straight,  false  eyebrows  attached,  which  are 
highest  in  the  middle,  to  give  them  an  arched 
appearance.  The  eyebrows  should  be  dark,  and 
the  eyes  of  sparkling  brilliancy.  Also  put  on  a 
slight  imperial  and  the  characteristic  wig  for 
such  parts. 

Fox's  Method. — Complexion  :  Nos.  2+  and  10. 
Hair  :  dark  brown  or  black,  short,  and  brushed 
back  from  the  forehead  without  being  parted, 
or  parted  in  the  middle,  and  brushed  on  the 
forehead  and  away  from  the  temples.  Mous- 
tache and  imperial,  or  close  whiskers  and  beard, 
short,  either  brushed  to  a  point  or  from  centre 
parting.     Powder  :  fuller's  earth. 

The  German  consists  of  two  types ;  those  of 
tall  stature,  robust  form,  fair  complexion,  red 
hair,  and  blue  eyes,  inhabit  mostly  the  north. 
In  the  south  we  meet  with  a  shorter  and 
swarthier  type,  with  dark  hair ;  and  these  are 
the  most  frequently  seen.  The  former  is 
generally  presented  upon  the  stage  as  typical 
of  the  nation.  In  making  up  these  characters, 
powder  with  fuller's  earth,  apply  rouge  to  the 
cheek-bones  rather  sparingly,  put  in  the  line 
under  the  eyelashes,  and  the  other  lines  accord- 
ing to  age.  Wear  a  fair  wig,  with  hair  well 
brushed  back  behind  the  ears.  For  an  older 
man,  such  as  a  doctor  or  professor,  wear  a  half 
bald  wig,  heavy  grey  moustache  and  eyebrows, 
blue  powder  on  chin,  and  put  in  the  crow's-feet 
and  furrows  as  for  old  age.  A  pair  of  spectacles 
are  often  worn  in  these  characters,  short-sighted- 
ness being  a  marked  trait  in  the  literary 
German  character. 

Fox's  Method. —  Complexion  :  No.  2|  with 
high  lights  to  broaden  the  features.  Hair : 
fair,  long,  and  brushed  from  forehead  without 
being  parted ;  a  fair  moustache  and  beard 
frequently  brushed  from  a  centre  parting. 
Powder :  white  and  pink.  Spectacles  or  pince- 
nez  may  be  worn  with  advantage. 

Russians. — The  northern  Russian  is  very  fair ; 
the  Eussian  peasantry  have  often  light  brown, 
flaxen,  or  yellow  hair.  The  make-up  is  about 
the  same  as  for  an  Englishman,  but  a  full  or 
heavy  beard,  moustache,  and  whiskers  may  be 
worn  together  with  a  fair,  curly  wig.  Many,  in 
fact  most  of  the  Eussians  in  St.  Petersburg  I 


AMATEUR    CONJURING. 


173 


fancy  are  of  a  dark  swarthy  nature,  with  dark 
■eyes  and  black  hair,  tall  and  thick-set,  and  very 
strong.     See  "  The  Peoples  of  the  "World." 

The  Italians  have  an  elegant  light  and  graceful 
form,  elevated  and  finely  shaped  features,  intel- 
lectual and  lively  expression,  dark  complexion, 
black  eyes  and  hair ;  the  nose  is  generally 
aquiline,  lower  jaw  broad,  and  the  chin  pro- 
minent. These  characters  lend  themselves  to 
very  effective  treatment,  as,  for  instance,  Macari 
in  "  Called  Back." 

Fox's  Method. — Complexion :  No.  3  or  3  mixed 
with  10.  Hair:  black.  Powder:  fuller's  earth 
made  slightly  brown. 

The  Spaniards  are  like  the  natives  of  Africa,  of 
moderate  height,  and  brown  skin.  The  lower 
classes  have  high  cheek-bones,  slightly  arched 
eyebrows,  and  usually  wear  side  whiskers  only. 
The  women  are  generally  brunette,  although  the 
blonde  type  occurs  frequently ;  they  are  almost 
always  of  short  stature,  have  large  eyes,  veiled 
by  thick  lashes,  a  delicate  nose,  and  well-formed 
nostrils. 

Complexion  :  No.  3  or  3  mixed  with  10.  Hair : 
black.  Powder:  fuller's  earth  made  into  a 
brown  tint. 

The  Portugtiese  are  much  less  handsome  than 
the  Spaniards,  generally  having  irregular 
features,  retrousse  noses,  and  thiekish  lips.  Their 
complexion  is  rich,  but  the  northern  peasant  is 
usually  swarthy  ;  they  have  black  hair  and  eye- 
brows. The  women  have  a  sallow  complexion, 
fine  hair  and  eyes. 

Fox's  Method. — Complexion :  No.  5,  with  a 
little  10.  Hair:  black.  Powder:  white  or 
fuller's  earth. 

The  Danes  have  a  fair,  ruddy  complexion,  blue 
eyes,  and  blonde  hair.  The  ancient  Danes  used 
to  take  great  pride  in  their  hair,  allowing  it  to 
grow  to  a  great  length  ;  they  shaved  their 
faces,  except  the  upper  lip,  and  the  moustache 
was  kept  as  long  as  possible.  (See  Louis 
Figuier  in  "  The  Human  Pace.") 

Complexion  :  No.  2.  Hair  :  fair.  Powder  : 
white. 

The  Wallachians  are  well  made  and  robust,  have 
oblong  faces,  black  hair,  thick  and  well-arched 
eyebrows,  bright  eyes,  small  lips,  and  clean 
white  teeth. 


Fox's  Method. — Complexion  :  No.  4.  Powder  : 
white  or  fuller's  earth. 

Note. — The  numbers  given  after  the  word 
"  complexion  "  in  Pox's  method  of  making  up 
the  characters,  refer  to  the  grease  paints  and 
lining  pencils  bearing  those  numbers  in  Mr. 
Pox's  catalogue,  and  the  list  given  in  a  former 

chapter. 

-♦ 

AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 

By  A.  BARLEY. 


IV. — Card-producing  Wand— (continued). 
jN  my  last  I  promised  to  say  a  few  words 
about  the  performance  of  the  trick  ;  so 
now  I  will  fulfil  my  promise.  Pre- 
suming you  have  the  wand  already  charged — if 
I  may  use  the  word — you  address  your  audience 
somewhat  as  follows  :  "  Ladies  and  gentlemen, 
I  have,  after  many  weary  and  trying  experi- 
ments, conclusively  proved  that  everything 
destroyed,  or  otherwise  put  out  of  the  way,  will, 
some  time  or  other,  appear  again  in  its  original 
state.  I  want  to  make  my  meaning  clear ; 
observe  a  drunken  man — I  beg  your  pardon, 
I  mean  intoxicated  gentleman — with  a  bottle  of 
liquor,  and  see  the  state  he  is  in.  Now,  if  he  is 
'  put  out  of  the  way '  until  he  is  sober — I  mean 
recovered  from  the  shock — when  he  is  free  once 
more,  does  he  not  get  a  '  refresher '  to  com- 
memorate the  occasion,  and  then  is  he  not  in  the 
same  state  as  he  was  originally  ?  I  think  you 
will  all  own  that  is  correct.  So  much  for  the 
theory.  Now  for  the  ocular  demonstration  of 
it.  I  have  here  a  pack  of  cards,  and  I  will 
commence  by  asking  a  gentleman  to  draw  one, 
so  !  Thank  you.  Do  not  let  me  see  it,  I  beg 
of  you.  Now,  will  you  kindly  burn  it  at  this 
candle — as  its-candleous  to  use  gas  for  so  small  a 
card.  What  did  you  say,  sir  ?  A  pun  !  I  hope 
not.  Now,  have  you  burnt  the  card  ?  (To  the 
audience.)  I  notice  how  pleased  anyone  is  to 
destroy  property  that  is  not  his  own.  No  allu- 
sion to  you,  sir !  Notice,  these  are  two  buns — 
there  is  a  boy  down  at  the  back  there  smiling  in 
anticipation.  I  fold  them  in  paper — so ;  now 
the  ashes  of  the  burnt  card  are  screwed  up  in 
VOL.   III.  (n.s.) — P 


174 


FORMS  AND   STOOLS. 


another  piece  of  paper,  and  buns  and  paper  are 
placed  in  a  box,  which.  I  hold  over  the  candle  to 
gently  heat  the  contents.  No,  I  did  not  say  eat 
the  contents.  I  open  the  box,  take  out  the  buns 
and  the  paper  containing  the  ashes, 
and,  presto  !  the  ashes  are  dissolved 
in  vapour  and  have  been  incorpo- 
rated with  the  buns.  Tes,  you  may 
come  up  now,  my  boy,  and  hold  the 
buns.  (Here  the  professor  hands 
both  buns  to  the  boy,  at  the  same 
time  whispering  to  him  to  eat  one.) 
Now,  sir,  I  walk  among  the  audience, 
and  then  turn  round  to  go  on  with 
this    wonderful    experiment    before 

What !  if  that  young  rascal 

a,  f) 


DESCRIPTION 
FIGURES. 


OF 


.6 


FIG.  II. — SECTION  OF 
PISTOL  WAND  ;  a,  PISTOL 
BARREL  ;    b,  NIPPLE    FOR 

cap  ;  c,  solid  cylinder; 
d,  catch  ;  e,  spring  ;  /, 
screwed  ferrule  ;  g, 
junction  of  wand,  can 
be  unscrewed  for 
loading  the  pistol, 
and  changed  for  the 
card  wand. 

FIG.  12. — a,  SECTION  OF 

PISTOL     WAND,     AND     i, 

CARD      WAND.        TO      BE 

SCREWED       ON       AT     g, 

FIG.  II. 
FIG.  12. 

hasn't  eaten  one  of  my  buns— the 
one  in  which  I  put  the  card.  What 
do  you  mean  by  it,  eh  ?  Yery  good 
trick,  is  it  ?  You'd  better  eat  the 
other  one,  and  then  you  will  have 
had  an  a^/wdance  of  supper.  Well, 
I  must  do  the  best  I  can.  Open 
your  mouth — so.  I  fancy  I  can  hear 
the  colour  of  it.  Yes,  I  am  troubled 
with  very  acute  hearing,  my  boy. 
Let  me  see  if  I  can  feel  it  with  my 
wand."  Take  up  the  wand  and 
insert  it  between  the  boy's  teeth. 
'  Then  loose  the  catch,  and  the  card 
will  press  against  the  boy's  mouth. 
Draw  the  wand  gently  from  his 
mouth,  and  the  card  will  appear  to  come  out, 
being  pressed  by  the  spring.  This,  if  done 
neatly,  is  a  very  effective  illusion  ;  and  it  is  not 
one  out  of  a  hundred  amongst  your  audience 


that  will  guess  the  correct  solution  of  it.  When 
you  put  the  screwed-up  paper  in  the  box,  of 
course  an  empty  piece  is  substituted. 

I  call  to  mind  a  wand  I  saw  some  time  ago, 
called  the  "  pistol  wand,"  which  makes  a  report 
like  a  pistol.  The  "card-producing  wand" 
would  make  a  capital  one.  The  working  is 
similar,  and  by  just  a  little  alteration  will 
answer  the  two  purposes  as  well  as  two  separate 
wands.  I  have  made  a  drawing  of  the  "  pistol 
wand,"  and  by  comparing  it  with  the  illustration 
of  the  other,  it  will  be  easily  seen  what  would 
require  to  be  done  to  effect  the  alteration.  The 
wand  would  have  to  be  screwed  on  the  outside, 
as  at  a  (Fig.  11),  and  the  two  pieces — one  for  the 
pistol  and  one  for  the  card— screw-cut  inside  to 
go  on  to  the  "  stock"  of  the  wand  (if  I  may  use 
that  expression).  Fig.  12,  a,  shows  section  of 
pistol  wand,  and  b,  card  wand.  Of  course,  the 
pistol  barrel  must  be  made  of  thick  sheet-brass, 
to  resist  the  explosion,  with  a  nipple  at  the 
bottom  end,  as  in  I  (Fig.  11). 


FORMS    AND     STOOLS: 

HOW  TO  MAKE  THEM. 
By  B.   A.  BAXTER. 

HE  manufacture  of  forms  for  school 
and  other  purposes,  formerly  fell  to 
the  lot  of  the  ordinary  carpenter ; 
during  the  last  few  years,  however,  special 
school,  college,  and  church  furnishers  have 
embarked  in  this  enterprise,  and,  owing  to  the 
special  work,  have  found  it  beneficial  to  make 
patterns  and  have  cast-iron  standards  for  forms, 
desks,  and  other  purposes.  Neither  the  ordinary 
carpenter  nor  the  amateur  would  find  it  desirable 
or  remunerative  to  have  iron  castings  prepared 
to  their  design,  for  the  few  forms  they  are  likely 
to  require ;  therefore  I  propose  to  treat  the  con- 
struction of  forms  and  stools  from  a  purely 
wood-worker's  standpoint,  and  to  show  amateurs 
how  I  have  made  seats,  both  with  and  without 
backs,  by  different  modes  of  construction.  Of 
course,  if  the  amateur  likes  iron  standards  he 
can  obtain  some,  but  not  many  patterns,  ready 
for  use ;  but  those  few  are  mostly  suitable  for 


FORMS  AND   STOOLS. 


175 


garden    seats,    'where    iron,     thoroughly    well 
painted,  is  very  suitable. 

Now,  to  make  a  satisfactory  form  without 
waste  of  time  and  material,  demands,  like  most 
other  things,  some  care  and  attention,  especially 
at  the  outset. 

The  users  of  the  seats  must  be  studied :  for 
infant  classes,  7  inches  high  will  be  found  suffi- 
cient;  while  for  adults,  17  inches  will  be  about 
the  proper  height. 

The  width  of  the  form  depends  also  upon  the 
purpose  for  which  they  are  to  be  used,  and  upon 
the  stock  sizes  of  deal,  presuming  that  to  be  the 
material  used.  The  "batten"  measures  7 
inches  wide,  though  some  are  a  little  less ;  7 
inches  may  be  taken  to  be  the  minimum  width 
of  a  form. 

For  our  present  purpose  9  inches,  or  "  deal  " 
width,  may  well  be  used  for  a  larger  size ;  while 
"plank,"  or  11 -inch  stuff,  will  be  useful  for 
taller  lads,  and  will  not  prove  uncomfortable  for 
adults.  We  can  also,  for  a  wider  form,  join  two 
battens  together,  or  a  "deal"  and  a-half, 
making  the  form  in  one  case  nearly  14  inches, 
and  in  the  other  nearly  13J  inches;  beyond  14 
inches  we  need  not  go.  In  width,  each  sitter 
needs  room  varying  from  10  or  12  inches  for  a 
small  child,  to  18  or  20  inches  for  an  adult. 

Having  according  to  this  data  determined  the 
sizes  of  our  forms,  let  us  say  a  word  on  the 
standards ;  these  cannot  be  less  than  two,  and 
unless  a  very  long  form  they  need  not  generally 
be  more  numerous  than  three.  "We  may  safely 
reckon  any  form  less  than  6  feet  may  have  two 
standards,  and  6  feet  and  over,  three. 

Having  thus  decided  on  height,  width,  and 
number  of  standards,  we  will  fix  upon  the  shape 
which  we  will  give  to  the  standards.  As  before 
stated,  there  are  different  modes  of  construction  ; 
the  first  and  probably  the  older  mode  is  to  have 
two  thin  boards,  which  need  not  be  very  wide  ; 
along  each  edge  under  the  seat  these  boards  are 
fitted  to  the  standards,  according  to  Figs.  1,  2, 
3,  and  4.  Fig.  1  shows  the  seat  standard  and 
side  boards  as  they  would  be  fitted  together, 
and  as  they  would  appear  if  the  form  were  cut 
across  close  to  the  standard.  It  cannot  be  denied 
that  this  construction  looks  well  and  wears  well 
too,  if  the  side  boards  are  not  too  thin,  though 


I  have  seen  them  very  much  too  slight ;  yet 
even  when  the  side  boards  are  slight,  if  a  num- 
ber of  angle  blocks  are  well  fitted  and  glued 
inside,  in  the  angle  between  top  and  side  board, 
the  form  lasts  well. 

The  second,  and  I  think  more  modern,  con- 
struction is  like  Figs.  4,  5,  and  6,  which  show 
the  shape  and  the  fitting  together  of  seat  stan- 
dard and  centre  board  ;  for  in  this  construction, 
instead  of  the'pair  of  side  boards,  there  is,  under 
the  centre  of  seat,  a  long  bar  of  wood  not  less 
than  1  inch  stuff,  which  is  fitted  to  the  standards 
as  shown,  and  is  notched  to  the  standard  as  well 
as  cut  into  the  centre  of  the  same  (see  Figs. 
4,  5,  and  6). 

Blocks  can  be  glued  each  side  of  the  central 
rail,  and  each  end  may  receive  a  nail  or  screw  ; 
for  as  our  friends  will  at  once  understand,  the 
object  is  to  prevent  the  top  bending  ;  and  if  the 
top  and  rail  are  fixed  together,  not  in  sliding 
contact,  but  fixed  so  that  they  cannot  move 
separately,  it  becomes  almost  impossible  to  bend 
the  form. 

In  each  method  of  construction  the  top  is  mor- 
tised, and  tenons  are  left  on  the  standards  ;  these 
may  be  cut  with  a  f  or  f-inch  chisel,  as  may  be 
convenient ;  and  as  the  tops  will  probably  be 
deal,  and  merely  be  planed  and  rounded  without 
gauging  to  a  width,  the  mortises,  if  gauged  from 
each  edge,  may  vary  slightly  in  distance  apart. 
This  may  lead  to  serious  trouble  when  the 
tenons  are  to  be  fitted ;  the  remedy  is  to  gauge 
only  from  one  edge,  and  to  take  the  precaution 
when  trying  that  edge  with  your  most  accurate 
plane,  of  marking  that  edge,  as  Fig.  4 ;  this  is  a 
most  invaluable  rule  for  general  wood  work,  and 
it  is  not  too  much  to  say  that  more  mistakes 
occur  through  neglect  of  this  simple  precaution 
than  from  any  other  one  cause. 

However,  there  is  in  this  case  another  plan 
which,  perhaps,  will  be  followed  by  amateurs, 
especially  as  it  will  help  in  marking  the  stan- 
dards, as  follows : 

Make  a  template  or  pattern  in  zinc  or  thin  wood 
for  the  tenons  and  mortises,  like  Fig.  8,  showing 
a  mortise  about  1  inch  from  each  edge  of  top,  and 
equidistant  from  the  centre,  that  is  about  1  inch 
clear  from  the  edge,  then  the  mortise,  and  make 
a  half -pattern  of  the  standards  also  in  zinc  or 


176 


FORMS  AND   STOOLS. 


FIC  3. 


PRACTICAL    ORGAN  BUILDING. 


177 


thin  wood,  and  see  that  the  piece  left  protectant 
for  the  tenons  agrees  with  the  mortise-gauge  in 
Pig.  8.  The  way  to  ascertain  this  is  to  mark  a 
centre  line  on  the  wood  intended  for  the  stan- 
dards, to  lay  down  the  gauge  of  half  the  stan- 
dard accurately  to  the  centre  line,  mark  round, 
turn  over  half-pattern,  mark  again,  and  compare 
with  your  copy  of  Pig.  8  ;  if  they  agree,  all 
right ;  if  not,  they  must  be  made  to  do  so. 

This  mode  of  marking  can  be  adopted  with 
either  one  central  bar  or  two  side  pieces ;  all 
that  the  amateur  need  do  is  to  decide  the  method 
first,  and  cut  the  pattern  accordingly. 

If  only  one  form  is  required,  I  should  make 
one  of  the  standards  the  pattern  ;  but  if  several 
forms  are  to  be  made,  by  all  means  make  a  half- 
pattern,  as  above  advised. 

In  mortising,  a  centre-bit  bole  can  be  used  to 
take  away  some  of  the  wood,  but  care  must  be 
taken  to  square  the  hole  out  accurately  to  the 
line.  Do  not  use  a  chisel  the  full  size  of  the 
mortise  if  you  bore  out  the  hole,  but  a  smaller 
chisel.  If  you  mortise  entirely  with  a  chisel, 
then  use  one  the  size  of  the  mortise  required. 

In  cutting  away  the  wood  between  the  tenons 
of  the  standards,  a  bow-saw  or  keyhole-saw  is 
quicker  than  cutting  out  with  a  chisel ;  and  if  the 
workman  is  accustomed  to  the  use  of  the  saw, 
far  preferable ;  he  can  easily  pare  away  any  pro- 
jection left  on  beyond  the  lines. 

If  the  form  has  three  standards,  be  sure  the 
centre  one  stands  square  to  the  seat,  and  that  it 
is  shorter,  rather  than  longer,  than  the  other 
standards  ;  this  can  easily  be  tested  with  a  piece 
of  twine,  stretching  it  over  the  standards  when 
the  form  is  lying  upside  down.  A  piece  of 
advice  may  be  given,  with  apologies  :  when  two 
tenons  are  cut  on  the  end  of  an  upright,  when 
two  hinges  are  used  to  hinge  a  flap  or  two  legs 
to  support  the  same,  do  not  have  the  tenons, 
hinges,  or  the  legs  too  close  together ;  this,  is  a 
good  general  rule,  and  it  applies  to  forms 
specially.  Many  a  one  has  sat  on  the  end  of  a 
form,  and  has  found  it  tilt  up  at  the  other  end , 
and  when  the  person  most  concerned  has  re- 
covered his  equilibrium,  the  form  does  the  same 
with  a  suddenness  and  violence  that  considerably 
injures  it ;  therefore  make  the  legs  sufficiently 
distant  to  avoid   such  incidents.     This  can  be 


easily  managed  by  making  the  standard  less 
distant  than  the  space  occupied  by  one  person, 
measured  from  the  end,  thus :  to  seat  three  per- 
sons, J  from  end ;  to  seat  four  persons,  J  from 
end ;  to  seat  five  persons,  J  of  the  length  of  the 
form  from  each  end,  will  be  the  position  of  the 
standards. 

Nails  may  be  used  sparingly  in  making  forms  ; 
and  if  any  reader  has  any  difficulty  that  is  not 
explained,  he  may  rely  on  the  best  advice  the 
writer  can  give  him  in  the  column  for 
"  Amateurs  in  Council." 


PRACTICAL  ORGAN  BUILDING. 

By   "ORGAN  BUILDUR.1' 

III. — The  Bellows— (continued). 
E  now  proceed  with  the  formation  of  the 
reservoir.  The  ribs  will  be  fixed  in 
precisely  the  same  way  as  the  feeder 
ribs  were,  witb  the  exception  that  only  one  edge 
is  fastened  at  once.  Connect  the  top  edge  of 
the  top  pairs  of  ribs  to  the  underside  of  the  top, 
so  that  the  points  will  be  1J  inches  from  each  end 
and  side,  and  3|  inches  from  the  outside  edge  all 
round  ;  and  the  top  side  of  the  bottom  pairs  to 
the  bottom  of  the  middle  frame,  with  the  point 
3£  inches  from  the  corners,  and  |  inch  all  the  way 
round.  Next  fasten  the  bottom  edge  of  the  top 
ribs  to  the  top  of  the  middle  frame.  The 
position  for  these  will  be  the  same  measurements 
as  those  of  the  top.  Turn  what  has  already 
been  done,  and  fasten  the  bottom  edges  of  the 
bottom  pairs  to  the  top  side  of  the  lining,  and 
the  reservoir  is  ready  for  the  gussets.  Prop  the 
bellows  up  at  each  end,  so  that  the  underside  of 
the  middle  frame  is  7  inches  above  the  middle 
board,  and  4  inches  between  the  middle  frame 
and  top.  The  gussets  are  shaped  like  those  of 
the  feeders,  only  on  a  smaller  scale.  Those  that 
fill  in  the  gaps  made  by  the  bottom  pairs  of  ribs 
will  be  laid  tight  across  the  middle,  but  the 
wide  part  of  the  top  gussets  must  be  left  loose, 
to  allow  for  the  expansion  of  the  space  between 
the  points  of  the  ribs  as  the  bellows  descends.  In 
putting  on  the  top  ones,  cut  the  bedding  leather 
for  f  inch,  and  pass  the  ends  of  the  gussets  into 
the  bellows,  and  turn  them  up  on  to  the  top  and 


178 


PRACTICAL    ORGAN  BUILDING. 


middle  frame,  at  their  respective  ends.  The 
wide  part,  where  it  lies  on  the  ribs,  must  be  cut 
for  J  inch  across,  and  the  pieces  made  to  overlap 
one  another,  with  a  piece,  like  Fig.  17,  to  cover 
the  overlapping,  the  point  going  to  the  point  of 
the  ribs. 

The  corner  pieces  for  the  reservoir  will  be 
smaller  than  those  for  the  feeder.  Those  for 
the  top  ribs  will  be  put  on  inside  to  cover  the 
ends  of  the  gussets,  but  those  for  the  bottom 
series  of  ribs  will  be  glued  on  outside.  The 
pieces  to  be  fastened  in  the  angle  formed  by 
the  ribs  will  be  the  same  size  as  those  made  for 
the  feeders. 

Plane  the  panels  for  the  middle  board  true, 
and  cut  a  hole  in  the  centre  of  each  from  front  to 
back,  10£  inchesfrom  one  end,  and  llf  inches 
from  the  other,  4  inches  long  by  3  inches  wide. 
These  are  to  be  covered  by  the  waste  pallets.  The 
waste  pallet  is  to  the  organ  bellows,  what  the 
safety  valve  is  to  the  steam  engine.  If  it  were 
omitted,  as  the  bellows  rose,  the  top  would  come  in 
contact  with  some  part  of  the  frame,  and  the 
continual  motion  of  the  feeders  underneath 
would  cause  such  an  excessive  pressure  of  wind 
that  the  weakest  part  would  come  to  grief,  and 
that  part  would  be  a  gusset.  With  a  safety 
valve  in  the  bellows,  when  the  top  is  raised  by 
the  force  of  air  from  below,  the  tapes  (x  x,  in 
Fig.  30)  tighten,  and  after  the  requisite  height 
has  been  attained,  the  pallet  opens,  and  lets  the 
surplus  wind  back  into  the  feeder.  Having  the 
waste  pallet  in  the  middle  board,  dispenses  with 
the  annoying  noise  that  must  be  present  if  the 
valve  is  put  in  the  top  so  as  to  let  the  wind 
escape  outside,  instead  of  inside,  the  bellows. 

Figs.  19  and  20  represent  sections  of  a 
waste  pallet,  the  former  longitudinal,  and  the 
latter  horizontal.  To  make  it,  get  a  piece  of 
nice  straight  inch  stuff,  4|  inches  long  by  Z\ 
inches  wide,  and  plane  it  so  that  it  beds  quite 
true  all  round  the  hole  in  the  middle  panel  for 
J  inch.  Bevel  the  back  end  from  \\  inches  up 
the  back,  down  to  \  inch  at  the  end,  and  the 
sides  for  \  inch  on  the  top  side,  leaving  a  similar 
piece  on  the  bottom  edges.  Round  off  the  thin 
end  down  to  nothing  almost,  and  size  the  bevel. 
For  the  tail-piece  (a,  Fig.  19),  get  a  piece  of  stuff 
the  same  thickness  as  the  pallet,  \\  inches  wide, 


Z\  inches  long,  and  bevel  one  edge  from  \  inch 
to  |  inch  on  the  top  side.  Chamfer  off  the  back 
top  edge  for  \  inch,  and  bore  two  holes  from  the 
top  to  pass  screws  through  to  fasten  the  pallet 
to  the  panel.  Now  glue  two  thicknesses  of 
unstrained  leather  back  to  back — that  is,  with 
the  fleshy  surfaces  outwards — 2  inches  longer 
than  the  valve,  and  \  inch  wider.  When 
glueing  the  leather  together,  pass  a  warm  iron 
over  each  side,  to  make  sure  that  there  is  no 
opening  of  the  least  description  between  them. 
At  1  inch  from  the  front  end  of  the  wood,  insert  a 
screw  eye  (b,  Fig.  19),  f  inch  round,  in  the  middle 
of  the  pallet,  and  make  a  spring  shaped  like  c 
(Fig.  19),  out  of  iron  wire,  No.  11  gauge.  To 
make  the  round  coil  at  the  end,  wrap  the  iron 
twice  round  a  piece  of  round  stuff,  f  inch 
diameter.  The  spring  will  be  fixed  in  the  tail- 
piece in  the  centre,  from  side  to  side,  at  \  inch 
from  the  back  edge.  On  the  top  side  of  the  pallet, 
where  c  will  work,  make  a  groove  with  a  small 
gouge  sufficiently  deep  to  bury  the  thickness  of 
the  wire.  When  the  leather  is  dry,  pull  it  well 
from  end  to  end,  and  from  side  to  side,  to  break 
the  joint  of  the  glue.  If  properly  ready,  it  should 
give  repeated  sharp  cracks  when  pulled.  Lay 
it  down  on  a  true  piece  of  board,  glue  it  well  as 
far  as  required,  and  lay  the  wood  on  to  it,  at  the 
same  time  rubbing  the  pallet  on  the  leather,  to 
make  sure  of  a  good  joint.  When  properly  set, 
featheredge  one  side  of  a  strip  of  calendered 
leather,  3^  ins.  wide,  and  glue  it  so  that  1 J  ins. 
will  stick  to  the  bevelled  end,  and  the  remainder 
will  lay  on  the  2  inches  projecting  beyond  the 
back  end  of  the  pallet.  When  dry,  put  the  tail- 
piece A  inch  away  from  the  end  of  the  bevel, 
and  with  a  sharp  knife  cut  the  leather  all  round 
the  two  pieces,  to  make  it  look  clean  and  tidy. 
Before  trimming  off,  ascertain  the  place  where 
the  screws  will  pass  from  the  tail-piece  through 
the  leather,  and  with  a  red-hot  iron  burn  holes 
a  trifle  larger  than  in  the  tail-piece,  so  that  the 
screw  will  be  quite  free  from  the  action  of  the 
alum  and  other  chemicals  often  used  in  leather 
dressing,  which  things  tend  to  make  the  screws 
rusty.  The  side  of  the  pallet  to  be  placed  nearest 
the  panel  must  be  rubbed  well  with  whitening, 
and  a  piece  of  coarse  glasspaper  passed  over 
it  two  or  three  times  from  one  end  to  the  other. 


PRACTICAL    ORGAN  BUILDING. 


179 


This  should  be  done  the  last  thing  before  fixing, 
■which  will  not  be  just  yet.  On  no  account  must 
the  least  particle  of  glue  be  on  the  faced  side  of 
the  leather.  Place  the  wooden  pattern  of  the 
bellows  pallet  on  the  top  side  of  middle  panel, 
and  mark  four  groups  of  holes  in  a  similar  way 
as  the  bottom  boards  were  done.  It  will  be 
noticed  in  Pig.  21  (one  of  these  panels),  that 
the  pallets  are  all  at  one  side.  This  will  be 
placed  at  the  front  side  of  the  bellows.  They 
are  thus  planned  because  more  wind  must  come 
up  at  the  front  of  the  feeder,  so  the  groups  of 
holes  are  put  directly  over  those  in  the  bottom 
boards  to  receive  the  air  more  readily.  Bore 
lj-ineh  holes,  glasspaper,  and  cover  them 
with  pallets  in  precisely  the  same  way  as  those 
were  done  in  the  feeders.  Bore  holes  round 
the  outside  edges  and  ends,  for  screws  to  hold 
the  panel  in  its  place.  The  dotted  lines  round 
Fig.  21,  represent  a  strip  of  leather  glued  on 
the  bottom  side  of  the  panel,  which  strip  will 
project  a  trifle  so  as  to  allow  for  trimming  off. 
A  red-hot  iron  will  be  passed  through  the 
leather  where  the  screw  holes  were  made. 
Patch  and  size  the  bottom  side  of  the  wood,  rub 
the  strips  with  whitening,  rough  them  up  with 
glasspaper  and  rubber,  and  fix  the  panels  (both 
being  exactly  alike)  so  that  they  bed  an  inch  all 
round  the  gaps  formed  in  the  framework  of  the 
middle  board  The  last  thing  to  be  done  is  to 
fix  on  the  waste  pallet.  All  the  screws  that  are 
put  in  should  be  greased  with  good  lard  or, 
better  still,  Eussian  tallow,  to  facilitate  their 
being  drawn  out  on  any  future  occasion,  and  to 
prevent  them  from  rusting.  Plane  the  slabs 
that  are  to  cover  the  interstices  of  the  top,  bore 
a  |-inch  hole  with  a  centre-bit  exactly  in  the 
centre  of  each,  patch  and  size  them  inside  ;  bore 
holes,  and  bed  them  round  the  bottom,  in  the 
same  way  as  the  middle  panels  were  done. 

Pix  two  thicknesses  of  strong  tape  to  the  eye 
in  the  waste  pallet,  pass  them  through  the 
holes  in  the  top  panels,  and  fasten  them  with 
round  wooden  pins  (y,  Pig.  30.)  The  top  should 
rise  7  inches  before  the  tapes  are  at  their  greatest 
tension,  so  as  to  open  both  valves  at  the  same 
proper  time. 

Make,  or  get  made,  three  regulators  to  repre- 
sent Fig.  22.  They  maybe  made  of  f-ineh  birch, 


or,  much  better  still,  \  inch  iron,  1  inch  wide. 
Each  will  consist  of  two  pieces  6£  inches  long, 
and  another  piece  1  foot  5  inches  long.  Fasten 
one  end  of  the  short  pieces  to  each  end  of  the 
long  one,  with  rivets  put  in  the  least  bit  loose. 
In  the  centre  of  a,  make  a  hole  just  sufficiently 
large  to  pass  a  lj-inch  screw  through,  size 
about  No.  12.  The  free  end  of  the  short  pieces 
will  have  a  similar  hole,  b\  inches,  from  the 
centre  of  the  rivet.  It  will  be  seen  in  Fig.  22, 
that  the  piece  b  is  fastened  behind  the  end  of 
a,  while  c  is  fixed  in  front  of  the  long  piece. 
One  of  these  regulators  will  be  screwed  to  the 
bellows  at  the  front  and  back  left-hand  end  at 
6  inches  from  the  end,  and  the  other  will  be 
fastened  on  the  right-hand  end  of  the  bellows. 

Out  of  a  piece  of  f  inch  birch  cut  nine  pieces, 
3  inches  long  and  ^-inch  wide,  shaped  like  Figs. 
23  and  24  (the  latter  being  a  lengthway  section), 
and  bore  a  hole  exactly  in  the  centre  of  each, 
larger  than  that  used  for  the  screw.  Place  the 
regulator  on  the  bellows  in  the  same  position  as 
represented  in  Fig.  22,  and  fasten,  with  four 
brads  and  a  little  glue,  the  pieces  of  birch,  so 
that  the  holes  in  them  correspond  with  r>,  e,  and 
f,  in  Fig.  22 ;  that  is,  one  will  be  fixed  to  the 
edge  of  the  top,  one  on  the  edge  of  the  middle 
frame,  and  a  third  to  the  lining.  Now  pass 
screws  through  the  free  ends  and  middle  of  the 
regulator  and  the  filling-in  pieces,  into  the  parts 
of  the  bellows  just  alluded  to,  taking  care  not 
to  fasten  them  too  tight.  A  washer,  1  inch  dia- 
meter, made  out  of  thick  sole  leather  with  a  hole 
made  in  the  middle,  may  be  substituted  for  the 
birch  to  keep  the  regulators  away  from  the 
bellows  ;  but  the  wood  is  the  cheaper  and  better 
way.  The  use  of  this  contrivance  is  to  enable 
the  middle  frame  and  top  to  rise  at  the  same 
time.  If  it  were  not  put  on,  the  top  would  be 
far  above  its  normal  height  before  the  middle 
frame  began  its  ascent  at  all. 

The  bellows  is  now  complete,  and  with  a 
piece  of  stuff  fastened  over  the  wind  hole  in  the 
end,  when  the  feeders  are  put  in  motion,  the 
reservoir  should  be  quite  air-tight.  Put  the 
piece  of  work  into  its  place  in  the  organ  frame, 
so  that  there  is  a  space  of  f  inch  between  each 
edge  of  the  bellows  and  the  inside  of  the  frame, 
and  fix  it  with  two  screws  through  the  middle 


180 


PRACTICAL    ORGAN  BUILDING. 


board  at  each  end,  into  the  pieces  fastened  on 
the  inside  of  rails  (c  c,  Fig.  5). 

We  have  now  to  provide  means  whereby  the 
motion  of  the  feeders  can  be  placed  under  the  con- 
trol of  one  of  the  most  essential  of  outside  beings 
who  lay  claims  for  distinction  among  the  list  of 
musical  composers.  This  important  factotum, 
without  whom  the  majority  of  organists  would 
come  off  badly,  and  yet  in  many  cases  be  gladly 
dispensed  with,  is  none  other  than  the  much 
deprecated  organ-blower.  Even  such  an  insig- 
nificant personage  might  find  it  uncomfortable 
to  be  placed  among 
the  internal  arrange- 
ments of  the  instru- 
ment, to  enable  him 
to  perform  his  duties 
satisfactorily;  so  we 
supply  him  with 
bellows  action,  of 
which  Figs.  26,  27, 
28,  and  29  represent 
drawings  of  the  com- 
ponent parts. 

Fig.  2  6  is  the  blow- 
ing post.  It  will 
consist  of  a  piece  of 
lj-inch  yellow  deal, 
2  feet  3  inches  long, 
4  inches  wide,  with 
a  tenon  \  inch  long, 
\  inch  thick  at  the  bottom  end,  which  will  fit 
into  a  mortise  in  the  piece  a,  representing  h  in 
Fig.  4.  At  the  top  end  of  the  post,  cut  away 
the  stuff  from  each  side,  to  leave  a  piece  in  the 
middle  5  inches  long  and  1  inch  thick.  Two 
pieces  of  1  inch  birch  \\\  inches  long,  4  inches 
wide,  for  the  cheeks  (bb,  Fig.  26),  will  be  fast- 
ened to  the  post  where  it  has  been  cut  away, 
with  four  good  stout  screws  through  each  piece. 
At  2  J  inches  from  the  top  end,  bore  a  f  inch 
hole  through  each  cheek,  and  in  the  middle 
bore  a  small  hole  from  the  top,  to  come  into  this 
larger  hole.  Drops  of  oil  will  be  run  down  this 
small  channel  on  any  future  occasion,  when 
from  continual  motion  the  centre  will  squeak. 
Slightly  round  the  birch  pieces  from  side  to  side, 
to  give  them'a  more  finished  appearance.  Now, 
get  a  piece  of  lignum  vitse,  or  boxwood,  turned  to 


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the  shape  of  Fig.  29.  It  will  consist  of  a  piece 
2 1  inches  long,  with  a  pin  \  inch  diameter, 
f-  inch  long,  turned  on  each  end,  leaving  a  piece 
1£  inches  square,  1  inch  long  in  the  middle.  The 
pins  should  fit  tight  in  the  holes  bored  in  the 
cheeks  of  the  blowing  post.  Lignum  vitse 
makes  the  better  centre,  being  naturally  a 
greasier  wood  than  box.  Out  of  1  inch  birch 
cut  a  handle  4  inches  wide,  and  shape  it  like 
Fig.  28.  At  2  inches  from  the  end,  bore  a 
|  inch  hole  (a,  Fig.  28),  and  another  (b),  so  that 
the  distance  between  the  centre  of  each  will  be 

the  same  as  that 
from  centre  to  centre 
of  the  studs  of 
the  feeders,  which 
should  be  2  feet  7§ 
inches.  Halve  this 
distance  to  give  the 
middle  of  the  square 
partofFig.29.  Cut  a. 
square  hole  through 
the  handle,  and  drive 
the  bellows  centre  in 
dry,  but  quite  tight. 
Shape  the  end  as 
shown  in  the  draw- 
ing, and  round  both 
edges.  On  the  top 
side  of  the  lever, 
over  a  and  b,  bore 
a  hole  for  the  similar  purpose  of  oiling,  just 
mentioned.  The  total  length  of  the  bellows 
handle  should  be  6  feet  1\  inches.  Make  two 
rods  out  of   1   inch    birch,  like    Fig.  27.      At 

2  inches  from  the  top  end  bore  a  f  inch  hole, 
and  cut  a  mortise  b\  inches  in  length,  and 
1  inch  wide.     The  centre  of  c  will  be  2  feet 

3  inches  from  the  hole  at  the  top.  Four  round 
iron  pins,  3  inches  long,  made  out  of  f  inch 
stuff,  with  a  tang  turned  over,  1  inch  long,  will 
be  used  for  the  connection  of  the  various  pieces. 
Through  the  tang  a  hole  will  be  drilled  to  take 
a  \  inch  screw.  A  pin  is  shown  in  Fig.  27,  a, 
and  should  fit  tight  into  all  holes  through 
which  they  have  to  pass,  or  the  action  will 'rattle ; 
and  nothing  could  possibly  be  more  annoying 
to  performer  and  listener  alike,  than  a  noisy 
bellows  action. 


PRACTICAL    ORGAN  BUILDING. 


181 


A 

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u 


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FIC.27 

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FIG. 26. 
2m-/fi. 


FIC.23.  Haif-  size. 


J 


FIG. 30.  Scale  li  in  =  IA. 
-3 


FIG.ZZ. 

Igin-lft. 


W\G.20.t\3in-/fi 


FI0  29.  3in-/fl. 


F1C.Z4-.  nait-size. 


I   ->A 


FIG.  28.  jin.-lfl. 


□  C 


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182 


AN  BASIL  Y  MADE    CAMERA. 


We  have  now  all  the  requisite  parts  ready, 
and  the  next  thing  is  to  connect  and  fix 
them.  First,  put  the  tenon  at  the  end  of  the 
blowing  post  into  h  (Fig.  4),  stand  it  quite 
upright,  and  fasten  the  top  end  with  four  screws 
from  the  inside  of  the  top  back  rail  of  the  organ 
frame,  into  one  of  the  cheeks.  Unscrew  the 
outside  cheek,  and  when  one  end  of  the  centre 
in  the  handle  has  been  passed  into  the  hole  in 
the  inside,  put  the  outside  one  in  its  place,  to 
hold  the  other  end  of  the  pivot  on  which  the 
handle  will  move  up  and  down.  Put  a  pin 
through  the  tops  of  the  rods  (Fig.  27),  which 
will  also  pass  through  a  and  b  (Fig.  28),  and 
similar  pins  through  the  holes  in  the  sides  of 
the  feeder  studs  through  c  (Fig.  27),  to  form  a 
connecting  link  between  the  handle  and  the 
feeders.  An  action  is  now  complete  which,  if 
properly  made,  will  last  for  years  upon  years. 
It  will  greatly  improve  the  look  of  all  birch,  as 
well  as  preserve  the  wood,  if  it  is  treated  to  a 
coating  of  linseed  oil. 

Fig.  30  represents  a  section  of  the  bellows 
from  front  to  back,  a  is  the  top  panel ;  b  b,  the 
front  and  back  rails  of  the  top  ;  c  c  are  the  top 
pair  of  ribs  ;  d  d,  the  rails  of  the  middle  frame  ; 
e  e,  the  bottom  pair  of  ribs ;  f  f,  the  linings ; 
g,  the  middle  panel ;  h  h,  the  rails  of  the 
middle  board  ;  k  k,  the  feeder  end  ribs  ;  l  is 
the  bottom  board;  and  M  m  are  the  feeder 
battens.  The  spaces  in  g  and  l  are  the  holes 
through  which  the  wind  is  to  pass,  and  n  are 
the  pallets  that  cover  them,  v  is  a  section  of 
the  waste  pallet ;  x  x  are  the  tapes  connected  to 
the  top,  and  y  is  the  wooden  pin  that  fastens 
the  tapes. 

I  have  now  given  every  detail  in  the  con- 
struction of  an  organ  bellows,  and  the  principle 
may  be  used  for  the  lungs  of  an  instrument,  no 
matter  how  large  its  dimensions  may  be.  We 
will  see  how  the  wind  is  collected  and  stored. 
When  the  bellows  handle  is  pressed  down,  the 
feeder  descends,  which  motion  causes  the  pallets 
in  the  bottom  board  to  rise  slightly.  The 
outside  air  rushes  through  the  holes  into  the 
feeder,  and  when  the  handle  is  lifted  up,  the 
bottom  pallets  fall,  and  retain  any  wind  that  has 
been  caught  when  the  feeder  dropped,  and  at 
the  same  time  the  pallets  in  the  middle  board 


are  forced  up  by  the  pressure  of  the  wind  in 
the  feeder.  When  the  handle  is  pressed  down 
again,  this  pressure  is  removed,  and  the  middle 
pallets  fall  over  the  holes,  and  having  two 
feeders,  one  acts  as  a  collector  of  the  air,  and 
the  other  as  a  means  whereb}'  the  air  is  forced 
into  the  reservoir  ;  thus  forming  a  continuous 
supply  ready  for  distribution  through  the 
soundboard. 


AN  EASILY  MADE  CAMERA. 

By  F.  S.  MORTON. 

HEEE  are,  doubtless,  many  readers  of 

this    magazine    who,   while    perhaps 

Jig     being    experts    in    wood     or    metal 


working,  or  in  some  other  equally  interesting 
work,  have  never  experimented  in  photography. 
While  the  practice  of  this  art  is  very  simple  in 
its  principal  details,  to  one  having  no  knowledge 
whatever  of  it  the  descriptions  of  plate-holders,  - 
focussing  screws,  bellows,  etc.,  etc.,  in  the 
articles  telling  how  to  make  or  buy  outfits,  are 
somewhat  puzzling.  It  is  a  very  difficult  thing 
to  go  to  work  and  make  a  camera  before  one 
knows  anything  about  using  it,  and  can  work 
understandingly. 

The  following  little  camera  is  intended  for 
those  who  would  like  to  experiment  a  little,  and 
fathom  some  of  the  mysteries  of  the  fascinating 
art,  before  purchasing  or  making  a  better  outfit. 
This  does  not  imply,  however,  that  the  camera  is 
good  for  nothing  else  ;  because,  although  made 
of  the  roughest  of  materials,  and  put  together  in 
the  simplest  possible  manner,  it  is  capable  of 
making  good  pictures,  if  small  ones. 

The  principal  part  of  a  camera  is  the  lens; 
and  this  will  be  the  most  difficult  thing  for  our 
photographic  experimenter  to  procure.  The  best 
for  the  purpose,  outside  of  a  regular  photo- 
graphic lens,  is  the  front  lens  of  a  pair  of  small 
opera-glasses.  These  are  such  common  articles, 
that  the  reader  ought  to  be  able  to  borrow  one 
if  he  does  not  own  a  pair  himself.  The  lens 
unscrews  from  the  framework  of  the  glass,  but 
must  not  be  removed  from  the  rim  that  holds  it ; 
one  of  short  focus  is  best,  say  about  4  inches.  If 
an  opera-glass  lens  cannot  be  procured,  almost 
any  lens  of  short  focus  will  do.  I  have  made  fairly 


AN  EASIL  Y  MADE    CAMERA. 


183 


good  pictures  with  a  glass  from  a  cheap  pair  of 
spectacles;  so,  with  such  a  wide  range  of 
glasses  to  select  from,  there  should  not  be  much 
difficulty  in  procuring  a  lens.  The  only  other 
materials  needed  are  some  pieces  of  pasteboard, 
thin  wood,  bookbinder's  or  similar  cloth,  a  few 
tacks,  etc. 

As  the  dimensions  will  vary  somewhat 
according  to  the  focus  of  the  lens  used,  I  will 
describe  the  camera  made  by  myself,  as  shown 
in  the  illustrations,  and  then  readers  can  alter 
the  dimensions  to  suit  the  lens  used,  if  necessary. 

The  camera  was  made  to  take  a  quarter-plate, 
as  the  lens  would  cover  nothing  larger.  A  box 
was  constructed  of  thin  wood,  4|  inches  long, 
and  3J  by  4i  inches  on  the  outside,  or  exactly 
the  size  of  a  quarter-plate.  In  the  diagram  (Fig. 
1),  which,  by  the  way,  is  not  drawn  to  scale,  but 
only  to  show  the  idea,  the  box  is  represented  by 
the  letters  a  a.  This  was  made  of  light,  thin 
wood,  and  blackened  inside  and  out.  Four 
inches  from  one  end  was  placed  a  partition,  b,  b, 
in  the  centre  of  which  was  cut  a  hole  just  large 
enough  for  the  opera-glass  lens,  with  its  brass 
rim,  to  screw  into.  The  distance  from  the 
partition,  b,  b,  to  the  end  of  the  box,  must 
always  be  the  same  distance  as  the  focus  of  the 
lens ;  and  the  latter  must  be  screwed  into  its 
place  with  the  convex  side  towards  the  plate,  or 
in  a  reversed  position  to  that  in  which  it  is  in 
the  opera-glass. 

A  paper  pill-box  was  then  procured,  an  inch 
and  a-half  in  diameter,  and  a  hole  \  inch  in 
diameter  was  made  in  the  bottom  of  it.  The  box 
was  then  glued  in  a  hole  in  the  centre  of  a  piece 
of  pasteboard,  3J  by  4J  inches  square.  A  piece 
of  bookbinder's  cloth  was  cut  an  inch  wider  than 
this  piece  of  pasteboard,  all  around,  and  a  hole 
cut  in  the  centre  for  the  pill-box.  The  cloth  was 
then  covered  with  glue  and  put  over  the  paste- 
board, the  edges  lapping  over  and  fastening  the 
pasteboard  to  the  end  of  the  box.  Thus,  the 
bottom  of  the  box,  with  its  hole,  which  should 
come  exactly  opposite  the  centre  of  the  lens, 
served  as  a  diaphragm  for  the  lens,  and  the  cover 
as  a  cap.  The  relative  positions  of  the  lens  and 
box  are  shown  in  the  diagram.  Then  a  paste- 
board box,  about  half  an  inch  shorter  than  the 
wooden  box,  was  made  to  slide  on  tightly  over 


the  latter,  and  covered  outside  with  bookbinder's 
cloth.  It  was  made  shorter  than  the  wooden  box, 
to  give  the  ringers  a  chance  to  grip  the  latter,  in 
order  to  pull  it  out.  This  completed  the  camera, 
which  then  presented  the  appearance  of  Fig.  2. 
Before  using,  it  was  tested,  to  see  if  the  focus 
was  correct,  by  holding  a  piece  of  ground-glass 
across  the  end  of  the  box,  and  pointing  to  an 
object.  The  box  can  be  lengthened  by  means  of 
strips  of  wood,  or  shortened  by  cutting  some  off 
until  the  focus  is  right. 

To  use  the  camera,  all  that  is  required  is  to 
place  a  dry  plate  in  the  bottom  of  the  pasteboard 
cover,  in  which  it  will  just  fit,  shut  the  wooden 
box  in  over  it,  and  when  pointed  at  any  object, 
remove  the  cap  to  make  the  exposure.  "With  a 
single  lens,  straight  lines  will  be  produced  as 
slightly  curved,  and  the  object,  consequently, 
somewhat  distorted ;  but  the  experimenter  may 
disregard  that,  as  it  will  be  hardly  perceptible, 
especially  in  landscape  views.  The  lens  may 
not  cover  the  whole  plate  sharply ;  but  a 
good  way  to  overcome,  or  rather  disguise,  both 
of  these  defects,  is  to  print  the  pictures  with  a 
circular  mask,  d  la  Kodak,  varying  the  size  of 
the  circle  to  the  size  of  the  perfect  part  of  the 
plate.  The  camera  has  not  any  arrangement 
for  changing  the  focus  when  once  fixed,  but 
with  the  class  of  lens  which  would  probably  be 
used,  the  focus  of  near  and  far  objects  does  not 
vary  enough  to  amount  to  anything ;  neither 
does  the  difference  between  the  visual  and 
actinic  focus,  if  any,  amount  to  enough  to  be 
taken  into  account.  The  arrangement  is  very 
simple,  but  it  is  made  exactly  on  the  same 
principle  as  all  the  larger  cameras,  and  by  its 
use  anyone  can  make  himself  quite  familiar 
with  the  art. 

Now,  perhaps,  some  reader  may  become 
attached  to  the  little  box,  as  the  writer  did,  and 
may  wish  to  take  instantaneous  views  with  it. 
Although  possessed  of  a  larger  hand  camera, 
this  one  was  so  small,  and  so  little  likely  to  be 
noticed,  that  it  was  handy  whenever  a  small  view 
was  wanted  in  a  place  where  the  larger  camera 
would  be  too  conspicuous.  With  a  good  lens 
from  an  opera-glass,  instantaneous  views  can  be 
readily  taken.  A  wooden  box  was  made,  exactly 
like  the  one  described  above,  but  instead  of  the 


184 


AN  EASIL  Y  MADE    CAMERA. 


pasteboard  front,  one  of  wood  was  fitted  in,  just 
outside  the  one  which  held  the  lens.  In  the 
centre  of  this  was  made  the  hole  for  exposure, 
which  should  he  as  large  as  will  allow  the 
picture  to  be  sharp  on  ground-glass.  This  hole 
serves  as  the  diaphragm,  so  should  be  made  with 
smooth  edges.  On  this  second  partition  was 
arranged  the  instantaneous  shutter.  Fig.  3 
shows  how  it  was  constructed,     a  is  a  cam-like 


covering,  served  to  set  the  shutter.  A  shallow 
pasteboard  cover,  to  match  the  large  cover  of 
this  box,  was  then  made,  with  holes  in  its  edges 
for  the  string  and  trigger,  and  it  was  placed  on 
over  the  end  of  the  box,  just  meeting  the  large 
cover.  A  hole  in  the  centre  gave  a  space  for 
the  exposure.  The  camera  then  presented  the 
appearance  of  Fig.  4.  There  was  room  for  but 
one  plate,  of  course,  there heing  no  plate-holders; 


F  I  C  2   Camera,  far  Tune  pictures 

piece  of  wood,  fastened  by  a  screw  in  the  centre, 
so  that  when  it  revolved,  the  hole,  b,  would  cross 
the  hole  in  the  wooden  partition.  A  rubber 
band,  from  c  to  d,  pulled  it  across  when  released 
by  the  trigger,  e,  which  was  worked  from  the 
outside.  A  screw,  f,  in  the  edge  of  the  cam, 
stopped  it  at  the  right  place  by  contact  with 
the  end  of  the  trigger.  A  spring  held  the 
latter  in  place,  and  a  string,  h,  from  the 
cam,  through  a  staple  and  hole  in  the  outside 


FIC.i.  Sectwrwlvietv of  Camera,. 


but  the  whole  affair  was  so  small,  that  plates 
could  be  changed  in  a  bag  of  dark  cloth  more 
easily  than  they  could  be  changed  in  plate- 
holders.  All  the  inside  parts  of  the  camera 
should  be  carefully  blacked.  If  a  spectacle- 
glass  or  any  similar  lens  is  used,  that  has  no 
framework  to  hold  it,  it  can  be  held  in  place  by 
having  the  hole  in  the  end  slightly  smaller 
than  the  glass,  and  pasting  a  strip  of  paper 
across  the  ends. 


A   FRAME    WITH  SLIDING   SASHES. 


185 


A  FRAME  WITH  SLIDING  SASHES 

FOE   PHOTOGEAPHIC   DAEK  EOOH. 

My  ED.   C.  ROE,  Jun.,  Silver  Medalist   of  the   City   and 
Guilds  of  London  Institute. 


inches  by  1  foot  If  inches.  For  the  three  sashes 
■we  shall  require  twelve  pieces  of  1$  by  lJb  inch 
finished  sizes,  and  15  inches  long. 

Now,  when  you  are  planing  up  your  stuff, 
after  cutting  out,  be  careful  to  select  the  best 
wide  face,  and  see  that  the  surface  is  straight  and 


N  these  days,  when,  process 
after  process  is  brought  out 
and  perfected,  nearly  all  of 
which  we  who  delight  to  call  ourselves 
amateur  photographers  invariably  like 
to  try,  the  collection  of  apparatus 
grows  and  grows,  until  at  last  we  are 
politely  informed  that  the  articles  in 
question  are  very  much  in  the  way, 
and  thus  we  are  led  to  look  about  us 
for  better  and  more  secluded  accom- 
modation. Circumstances  similar  in 
character  to  this  led  me  to  construct 
a  dark  room,  and  in  order  to  properly 
illuminate  the  said  room,  I  con- 
structed, and  have  used  for  some  con- 
siderable time,  the  piece  of  apparatus 
which  is  the  subject  of  this 
article. 

The  arrangement  is  of  the 
simplest  character,  well  adapted 
ior  construction  by  amateur 
workers,  and  being  a  good 
serviceable  article,  can  be  re- 
commended as  a  suitable  object 
on  which  the  amateur  photo- 
graphic joiner  might  employ 
his  spare  time  during  the  long 
and  often  tedious  evenings. 

Before  proceeding  further 
with  the  subject,  I  would  again 
bring  before  the  reader's  notice 
the  urgent  necessity  of  first 
setting  out  full  size  the  work  to 
be  taken  in  hand,  prior  to  com- 
mencing operations.  My  again 
pressing  this  matter  may  be  deemed  by  many 
superfluous,  but  the  great  importance  of  the 
subject  must  be  my  apology. 

The  first  things  to  take  in  hand  are  the  sashes, 
of  which  we  require  three,  in  size  the  same, 
namely,  12  by  12  inches  inside  the  rebate;  this 
will  give  us  an  outside  dimension  of  1  foot  If 


E 


M 


iSmn 


1 


out  of  winding;  this  is  important,  and  there- 
fore should  be  well  looked  to.  Another  small, 
though  necessary  thing,  is  to  put  a  face  mark 
upon  your  stuff  ;  this  consists  of  a  pencil  mark 
made  on  the  best  face  of  the  stuff,  and  with  the 
end  of  the  mark,  as  it  were,  running  over  the  edge 
and  a  short  distance  down  the  best  edge  (Fig.  L). 


186 


A   FRAME    WITH  SLIDING   SASHES. 


Having  planed  up  the  face,  select  the  best 
edge,  and  shoot  square  with  the  face  ;  be  careful, 
also,  to  work  this  straight,  as  it  is  upon  the  face 
and  face  edge  everything  depends.  "We  now  set 
a  marking  gauge  to  the  width  of  stuff,  namely, 
\\  inches,  and  gauge  the  whole  twelve  pieces. 
The  superfluous  stuff  is  planed  off  down  to  the 
gauge  line,  working  square  off  the  face.  The 
gauge  now  requires  setting  to  the  thickness,  1-| 
inches,  and  both  edges  gauged ;  we  can  now 
plane  down  until  both  gauge  lines  are  reached, 
and  our  stuff  is  ready  to  be  set  out. 

For  the  stiles  we  require  six  pieces,  for  the 
rails  also  six  pieces ;  so  select  them,  and  place  in 
pairs,  the  face  marks  being  placed  together.  On 
the  full-sized  section,  shown  at  a,  will  be  found 
dotted  the  setting  out  required  for  the  stiles ; 
the  chisel  used  for  the  mortises  being  A  inch. 
Bear  in  mind,  when  setting  out,  that  the  distance 
between  the  front  edges,  or,  in  other  words,  the 
sight  size,  is  114-  inches,  the  rebate  size  being 
12  inches.  I  think  the  setting  out  of  the  rails 
will  be  rendered  sufficiently  lucid  on  reference 
being  made  to  the  sketch  at  13.  Mortise  the 
stiles,  and  cut  in  the  shoulders  on  rails  down  to 
the  gauge  lines. 

"We  require  now  to  gauge  for  the  rebates. 
Set  one  gauge  to  \  inch,  and  one  to  \  inch  ; 
the  \  inch  being  the  depth  of  the  rebate,  the 
\  inch  the  distance  from  the  face  of  stuff. 
Now  with  your  fillister,  or  in  the  absence  of 
one,  your  plough,  rebate,  and  leave  quite  clean 
down  to  the  gauge  lines.  Chamfer  the  edge  of 
each,  as  section  at  a.  Having  satisfactorily 
accomplished  this,  the  fitting  together  may  be 
proceeded  with. 

Fitting  is  undoubtedly  one  of  the  bugbears 
of  amateur  work,  being  a  process  requiring  at 
once  both  patience,  confidence,  and  neatness ; 
for  without  these  essentials  our  work  will  appear 
slovenly.  It  is  when  fitting  that  the  great 
benefits  to  be  derived  from  a  full  size  setting 
out  are  discovered  and  appreciated. 

In  fitting,  the  great  point  is  to  work  strictly  to 
the  lines,  the  sight  size  line  being  the  limit  line 
of  the  mitre  in  all  cases  ;  if  this  line  is  accurately 
set  down,  the  trouble  of  fitting  the  sashes 
together  should  be  reduced  to  a  minimum. 

The  sashes   having  been  fitted  together,  we 


may  cut  the  wedges  with  which  to  wedge  them 
up ;  they  are  best  cut  from  a  piece  of  board 
exactly  the  same  thickness  as  the  mortise  is 
wide. 

To  those  readers  who  do  not  possess  a  pair  of 
sash  or  other  cramps,  the  following  method  may 
prove  of  use.  The  cramp  takes  the  usual  form, 
that  of  a  piece  of  stuff  with  a  block  screwed  on 
each  end ;  the  addition  being  a  wedge  which  is 
preferably  made  of  hard  wood,  and  is  placed  in 
a  mortise  cut  for  its  reception  in  the  cramp. 
The  sketch  at  m  will,  I  think,  render  it  clear. 
The  sash  is  placed  between  the  end  block  and 
the  wedge ;  then,  if  the  wedge  be  driven  home, 
it  will  be  found  to  fetch  up  the  shoulders 
admirably.  A  couple  of  these  cramps  will  prove 
of  great  use  on  very  many  occasions,  the  size 
being  easily  adjustable. 

Now  for  the  actual  glueing  up.  The  sash 
taken  up  should  be  laid  face  downwards,  and 
the  stiles  knocked  nearly  off,  a  small  brush 
being  used  to  apply  the  glue  at  each  corner ; 
this  being  done,  turn  over  the  sash,  and  glue  the 
remaining  corners,  knock  up  together,  and 
placing  in  the  cramps,  wedge  up,  taking  par- 
ticular care  to  keep  square  and  straight  all  ways, 
for  nothing  is  easier  than  to  err  in  this  way 
whilst  glueing  up  such  articles.  When  com- 
pleted, place  aside  carefully  to  dry,  and  then 
proceed  with  the  frame. 

The  frame  proper  is  simply  four  pieces  of  stuff 
3^  inches  wide,  with  two  plough  grooves  to  take 
the  parting  beads,  section  at  a  (Fig.  A);  setting  out 
from  the  face  edge,  the  distances  will  be  1^,  \, 
1&>  i>  H  inches,  respectively,  making  a  total  of 
3^  inches.  The  groove  should  be  J  inch  deep. 
The  thickness  of  the  stuff  is  £  inch,  the  lengths 
being  2  feet  6  inches  and  1  foot  2  inches  twice 
in  each  case ;  these  are  fitted  together  by 
tongueing,  as  shown  at  c,  full  size.  The  sight 
size  of  the  frame  is  2  feet  4  inches  high,  by  1 
foot  If  inches  wide. 

At  this  stage  we  shall  have  to  obtain  three 
H -inch  pulley  wheels  or  sheaves  ;  these  can  be 
purchased  at  small  cost  of  any  good  ironmonger ; 
they  are  inserted  in  top  rail  of  frame  for  the 
cords  to  ran  over ;  the  positions  are  shown  at  i, 
a  full  size  elevation  of  sheave  and  mortice  at  J. 
Bear  in  mind  that  the  side  face  of  sheave  must 


A  FRAME    WITH  SLIDING   SASHES. 


187 


be  at  right  angles  to  face  of  frame.  The  method 
of  fixing  pin,  on  which  the  wheel  will  revolve, 
is  shown  at  j,  which  sketch  will,  I  think,  render 
matters  clear  without  further  explanation. 
French  wire  nails  answer  admirably  for  the 
pins  when  cut  to  proper  length. 

The  frame  may  be  nailed  carefully  together, 
and  the  linings  prepared  for  the  outside.  The 
width  of  these  will  depend  upon  circumstances  ; 
my  own  are  cut  to  exceed  the  width  of  the 
frame,  about  1  inch  all  round,  making  a  width 
2§-  inches ;  but  possibly,  if  they  were  wider,  in 
many  cases  it  would  prove  advantageous.  The 
top  lining,  d,  is  formed  of  matchlining,  but  see 
the  tongues  on  same  are  in  good  order  before 
fixing.  The  linings,  e,  are  mitred  at  the  lower 
corners  ;  it  is  advisable  to  screw  these  on  for 
convenience  in  obtaining  access  to  the  sashes 
from  the  outside,  in  case  of  accident. 

The  parting  beads  now  require  preparing  in 
section  as  at  a  (Kg.  A),  but  \  inch  wide  ;  we 
shall  use  four  times  2  feet  4  inches,  and  twice 
1  foot  1£  inches  ;  these  require  careful  fitting  to 
the  plough  grooves  in  the  frame,  and  after 
marking  remove  and  prepare  to  fit  in  the  sashes. 

A  description  of  the  fitting  of  one  sash  will 
answer  for  all ;  after  cleaning  off  the  two  faces 
of  the  sashes,  lay  a  couple  aside,  and  taking  the 
remaining  one,  proceed  as  follows  : — Shoot  one 
edge  perfectly  straight,  and  then  shoot  the 
corresponding  edge  until  the  sash  is  sufficiently 
narrow  to  slide  between  the  stiles  of  the  frame 
in  a  perfectly  free  and  easy  manner ;  all  this 
time  the  ends  of  the  stiles,  or,  as  they  are 
technically  called,  horns,  have  not  been  interfered 
with,  therefore  we  will  now  deal  with  them  in  a 
proper  manner ;  allow  the  sash  to  lay  in  the 
frame,  which  should  be  flat  on  the  bench, 
causing  the  horns  to  come  in  contact  with  the 
bottom  rail  of  frame.  I  think  sketch  EL  will 
make  this  clear.  Having  so  done,  take  a  pair 
of  compasses  or  spring  dividers,  and  having  set 
them  to  the  greatest  distance  the  bottom  rail  of 
the  sash  is  from  the  bottom  rail  of  the  frame, 
scribe  or,  in  other  words,  keep  one  leg  of  the 
dividers  close  against  the  frame  rail,  and 
preserving  this  contact,  run  the  dividers  along, 
causing  the  remaining  leg  to  mark  the  sash. 
Should  the  sash  be  a  little  out  of  square,  we  shall 


now  discover  our  error,  as,  if  everything  is  as  it 
should  be,  no  mark  should  be  made  on  the  actual 
rail,  but  only  on  the  stiles.  This  is  rather  a 
peculiar  procedure  to  endeavour  to  describe  on 
paper,  even  with  the  assistance  of  sketches ; 
but  I  trust  that  any  lack  of  lucidity  may  be 
made  up  by  a  little  intelligent  thought  on  the 
reader's  part. 

Having  scribed  the  sash,  we  may  cut  off  the 
horns  of  the  stiles  to  the  scribed  line ;  and 
after  rendering  smooth,  by  means  of  a  keen 
plane,  drop  into  its  place  once  more.  If  the 
operation  has  been  accurately  performed,  the 
bottom  edge  of  sash  should  touch  perfectly  the 
frame.  All  we  have  to  do  now  is  to  make  the 
remaining  edge  of  sash  parallel  to  the  one  just 
dealt  with  ;  drop  the  sash  into  its  place,  knock 
in  the  parting  beads,  and  see  if  all  is  well  and 
working  easily  without  chatter  or  undue  friction. 

Perform  this  operation  on  the  remaining 
sashes,  and  then  prepare  and  fix  on  by  means  of 
screws  the  inner  linings,  the  top  one  of  which 
will  require  to  be  1  foot  b\  inches  by  1  foot 
3  inches,  and  £  inch  thick  ;  the  narrow  linings 
being,  respectively,  1  foot  b\  inches  and  1  foot 
3i  inches  in  length,  and  If  inches  wide. 

It  remains  for  us  now  to  give  our  work  a  coat 
of  paint.  For  glazing  the  sashes  we  shall 
require  one  piece  of  obscured  glass — 21  oz.  will 
be  sufficiently  stout — one  piece  for  orange,  and 
one  piece  ruby,  all  12  inches  square;  these  are 
puttied  in  by  the  usual  method. 

We  can  now  run  the  cords  through  the 
pulleys,  and  connect  with  the  top  bar  of  sashes  ; 
and  then,  after  fixing  beads  and  linings,  test  for 
faults,  which,  if  any  should  crop  up,  do  not 
leave  until  rectified. 

The  means  of  fastening  the  ends  of  cords  for 
the  purpose  of  holding  sashes  in  required 
position,  is  by  fixing  three  of  Young's  patent 
cord  holdfasts  to  the  face  of  inner  lining,  as 
indicated  on  Fig.  G. 

Being  quite  aware  that  the  circumstances 
under  which  the  arrangement  is  used  will  vary 
considerably,  especially  when  fixing,  I  shall 
abstain  from  discussing  any  method  of  fixing  ; 
referring  those  readers  who  require  special 
advice  to  "  Amateurs  in  Council."  All  questions 
shall  receive  my  best  and  immediate  attention. 


188 


WOOD  ENGRAVING  FOR  AMATEURS. 


WOOD    ENGRAVING    FOR 
AMATEURS. 

By  AN  AMATEUR   WOOD  ENGRAVER. 


IV.— How  to  Engrave. 
How  to  Engrave. — We  are  now  supposed  to 
have  our  tools  in  condition,  our  pad  and  stand 
made,  and  everything  in  readiness  for  work. 
Place  the  pad  on  the  table  or  bench,  either  on 
the  pad  prepared  for  it,  or  on  something  that 
will  bring  it  high  enough  to  allow  a  perfectly 
erect  position  of  the  body.  Hold  the  block  in 
the  left  hand,  and  the  tool  in  the  right.  When 
working  near  the  edge  of  a  block,  hold  the 
tool  as  in  Fig.  20,  but  when  the  parts  to  be 
reached  are  too  far  from  the 
edge,  place  the  thumb  on 
the  surface  of  the  block  (as 
in  Fig.  21),  pressing  on 
the  block  with  it  so  as  to 
form  a  stay  for  the  tool. 
Some  contrivance  must  be 
arranged  to  concentrate  the 
light  on  the  block,  and 
a  common  one  for  this 
purpose  is  a  large  globe 
filled  with  water,  through 
which  the  rays  of  the  light 
pass.  They  are  of  a  style  similar  to  those 
seen  in  the  windows  of  the  chemist,  and 
several  can  work  around  one  globe  by  a  proper 
arrangement  of  lamps.  A  bull's-eye  lens  will 
answer  the  purpose  as  well  as  a  globe,  and  is 
preferred  by  many.  I  use  the  latter  fastened  to 
a  German  student's  lamp,  which  allows  of 
adjustment  to  different  heights.  It  is  well  to 
practise  on  a  block  with  the  different  tools,  fol- 
lowing no  particular  design,  but  just  cutting 
straight  lines  to  get  used  to  handling  them. 
They  will  go  hard  at  first,  and  it  will  be  dis- 
couraging to  think  of  ever  being  able  to  cut  the 
fine  lines  in  the  various  engravings  that  have 
been  examined ;  but  time  and  patience  will  do 
wonders.  My  first  attempt  was  the  outline  of  a 
human  head,  and  so  anxious  was  I  to  advance 
that^I  wrote  my  name  backwards  across  the 
head,  and  cut  that  also.  It  was  not  as  plain  as 
copper-plate  when  I  had  finished  it,  but  some- 


FIG.     24.— SPECIMEN      CUT     REPRODUCED     FROM 
ORIGINAL  BLOCK   BY  THE   AUTHOR. 


how  or  other  I  got  a  remarkable  resemblance  to 
my  autograph,  judging  by  the  comments.  That 
does  not  prove,  however,  that  it  was  good,  easy 
reading.  It  is  not  best  to  attempt  such  work  as 
this  at  the  start ;  it  is  too  perplexing,  and  no- 
thing but  plain  figures,  like  squares,  diamonds, 
or  circles,  should  be  attempted  at  first. 

The  object  to  be  engraved  should  first  be  out- 
lined with  a  fine  tool ;  that  is,  a  fine  line  should 
be  cut  all  around  the  design  first  of  all.  I  use 
my  finest  tint  tool  to  outline  with,  and  think  it 
the  best  of  any  for  the  purpose.  Cut  on  both 
sides  of  the  lines,  going  underneath  them  each 
time,  and  turning  the  block  so  as  to  be  able  to 
do  so ;  by  cutting  underneath  the  line  it  is  in 
sight  all  the  time,  and  you  are  not  so  liable  to 
cut  into  it  as  if  the  tool  was 
run  along  on  the  upper 
side.  When  ^he  figure  is 
outlined,  take  a  larger  tint 
tool  and  widen  the  cut,  but 
have  a  good  look-out  that, 
the  tool  keeps  clear  from 
the  line  itself.  One  great 
difficulty  the  beginner  will 
have  with  his  tools,  will  be 
to  keep  the  under  side  of 
them  from  damaging  the 
lines  already  made ;  not  only 
does  the  point  of  the  tool  need  Jwatching,  but 
the  sharp  underside  as  well.  Practice  only  will 
enable  one  to  hold  the  tools  properly,  and  do 
not  be  discouraged  if  many  lines  are  spoiled  at 
first.  I  shall  presently  explain  how  to  repair  all 
damage  done  in  this  way  unless  it  be  too  serious. 
The  design  will  now  present  the  appearance 
of  Fig.  22  ;  the  black  parts  represent  the  waste 
wood,  which  must  be  cleared  away  before  the 
cut  is  complete.  My  process  of  doing  this  is  to 
go  around  the  design  with  a  small  scooper, 
rounding  out  the  corners,  and  leaving  quite  a 
margin  all  around  the  lines.  Inside  of  the 
design  the  waste  wood  should  be  dug  out  with 
the  regular  scoopers,  unless  the  spaces  are  un- 
usually large.  The  method  of  using  the  scoopers 
is  to  lay  a  piece  of  thick  cardboard  on  the  block, 
using  it  as  a  support  for  the  tool ;  this  will  enable 
a  lifting-  movement,  and  the  wood  will  cut  away 
much  faster  and  easier,  and  the  lines  of  the  cut 


WOOD   ENGRAVING  FOR  AMATEURS. 


189 


will  be  protected.  Do  not  use  too  large  a 
scooper,  as  you  can  get  along  faster  with  a  small 
and  sharp  tool,  after  the  inside  spaces  and  a  good 
wide  margin  on  the  outside  have  been  dug  out ; 
if  the  amateur  has  a  work  bench,  it  is  there  be 
had  best  take  the 
block  to  finish  it. 
Fasten  the  block  in 
the  vice,  face  up,  and 
with  a  carpenter's 
gouge  and  mallet  chip 
off    the    waste  wood, 


keeping  a  sharp  eye  =3=j 
on  the  finished  lines, 
that  they  do  not  get 
in  the  path  of  the 
gouge.  Tig.  23  shows 
the  style  of  gouge  best 
adapted  to  the  pur- 
pose. In  large  estab- 
lishments this  work 
is  done  with  what 
are  called  ••routing" 
machines ;  they  are 
machines  arranged 
much  like  a  drilling 
machine,  and  have 
bits  of  different  sizes 
which  cut  away  the 
waste  wood,  the  block 
being  moved  under  FIG 
them  as  required  ;  but 
the  mallet  and  gouge  will 
answer  for  ordinary  work. 

If  the  amateur  possesses 
a  lathe,  he  may  easily  ex- 
temporise a  routing  machine  by  using 
twist  drills  for  bits ;  but  there  is 
danger  of  doing  damage  to  the  cut 
with  such  an  arrangement,  and  the  job 
does  not  look  as  well  when  finished. 

The  practice  with  plain  figures 
should  be  kept  up  until  one  can  handle 
the  tools  easily,  and  has  acquired  the 
art  of  cutting  around  a  mark,  and 
leaving  it  clear  and  well  defined  on  the  block  ; 
after  that  the  best  practice  is  reproducing 
another's  work.  By  means  of  the  transfer  pro- 
cess place  a  simple  design  on  the  block,  and  with 


20. — HOW    TO    HOLD    TOOL    WHEN    CUTTING    NEAR 
EDGE  OF  BLOCK. 


FIG.    22. — SIMPLE   DESIGN 
OUTLINED. 


the  aid  of  the  glass  clear  away  with  your  tools 
all  the  waste  wood,  going  over  the  design  care- 
fully, and  exactly  reproducing  in  wood  the  print 
chosen.  Note  the  different  lines  used  to  shade 
with,  and  how  one  article   is  made  to  appear 

round     and     another 
hollow,  by  means   of 
simple       black      and 
white  lines.  These  en- 
gravings, where  plain 
line  work  is  used,  are 
the  best  for  the  ama- 
teur to  copy.  Some  en- 
gravers imitate  litho- 
graph    work,    others 
charcoal    and     paint- 
brush marks,  etc.  ;  but 
do  not  attempt  to  copy 
anything  of  this  kind. 
One     of    the    neatest 
little     engravings     I 
ever      attempted      to 
copy,  and  one  in  which 
every  line  is  well  de- 
fined and  easy  to  trace, 
is  shown  in  Fig.  24, 
which  is  printed  from 
a   block  engraved  by 
the     author    of     this 
article.  It  is  a  picture 
of  a  siskin,  a  little  bird 
well  known  in  Europe, 
and   is  copied  from  a  bird 
dealer's     price     list.      The 
amateur    will    find    this    a 
good  design  to  try,  and  it 
will  also  indicate  the  style   of  work 
that  can  easily  be  done  after  a  little 
practice. 

Tints  are  used  to  shade  with,  to 
represent  sky  and  background,  which 
forms  a  good  part  of  the  engraver's 
work.  Plain  tints  are  composed  of 
parallel  lines  of  the  same  width, 
with  the  space  between  them  more 
or  less  wide,  to  represent  different  shades. 
These  lines  and  spaces  are  varied  in  every 
conceivable  way  to  show  different  things; 
they  are  made  with  the  tint  tools  previously 
vol.  in.  (n.s.'I— q 


TO   HOLD  TOOL  WHEN    CUTTING  AWAY  FROM 
EDGE  OF  BLOCK. 


FIG.  23. — GOUGE    FOR   CLEARING   AWAY 
WASTE    WOOD. 


190 


HOT   WATER  FITTING  FOR  SMAIL   HOUSES. 


described.  The  ordinary  way  in  which  tinting  is 
done,  is  to  give  the  surface  of  the  block  a  wash 
of  Indian  ink,  and  then  draw  with  a  pencil  lines 
about  a  \  inch  apart ;  select  the  tint  tool  to 
make  the  proper  width  of  line,  and  follow  the 
first  pencil  mark  carefully,  keeping  the  tool  as 
near  of  an  even  depth  as  possible  the  whole 
length  ;  then  make  another  bine  below  it  as  far 
from  the  first  as  wanted,  and  so  on  till  the  whole 
space  is  lined.  The  several  pencil  marks,  as  they 
are  reached,  serve  as  a  guide  to  keep  the  line 
straight.  I  find  another  process  better  adapted 
to  my  wants,  although  it  is  not  quite  so  pro- 
fessional. I  select  the  tint  I  want  from  whatever 
print  I  find  handy,  cut  it  out  the  size  needed, 
and  transfer  it  by  the  potash-alcohol  process  to 
the  space  on  the  block  I  wish  to  tint,  and  then 
cut  it.  This  may  be  quite  unprofessional,  but  it 
is  easier,  and  I  can  do  a  better  job.  The  transfer 
must  be  made  before  any  cutting  is  done  on  the 
block,  or  the  pressure  in  copying  would  damage 
lines  already  made.  Many  dealers  in  drawing 
materials  keep  ready  ruled  paper  for  drawing 
purposes,  and  a  supply  of  this  of  different  depth 
of  tint  is  very  useful.  Sky  tints  are  hard  ones 
for  the  amateur  to  make,  and  are  made  in  many 
different  ways  by  different  engravers.  On  page 
349,  Part  8  (New  Series)  of  Amateur  Work, 
are  several  specimens  of  cloud  work,  under  the 
head  of  "  Magic  Lantern  Slide  Painting,"  which 
will  repay  the  beginner's  study.  Such  specimens 
will  be  found  in  abundance  on  every  hand,  and 
more  can  be  learned  by  a  study  of  them  than  in 
pages  of  description ;  so  I  will  not  attempt  to 
further  describe  such  work. 


Drlll  Clamp. — To  make  a  drill  clamp,  take 
2  feet  of  bar  iron,  1}  inches  by  \  inch  or  less, 
bend  it  at  the  centre  to  1^  inch,  drill  holes  \\ 
inches  from  each  end  for  bolts,  and  pass  it  around 
the  upright  rod  of  the  drill.  Take  a  |-inch 
rod,  14  inches  long,  make  \\  inches  bend  in  the 
middle,  and  turn  up  hooks  at  the  ends.  Over 
these  put  the  ends  of  a  trace  chain,  take  a  bit  of 
slat  1\  feet  long,  put  this  through  the  chain  at 
the  floor.  Put  the  end  under  a  cleat  nailed  to 
the  wall,  put  one  foot  on  the  other  end,  and 
bear  down  as  you  turn  the  drill.  —  English 
Mechanic. 


HOT  WATER  FITTING  FOR  SMALL 
HOUSES. 

By  L.  L. 


III. — Baths  and  their  Fittings  —  Taps  —  Overflow 
Pipe — Waste  Pipe— Safety  Trays— Precautions  in 
using  Hot  Water  Systems  —  Randall's  Patent 
Taps — Concluding  Remarks. 

HE  most  economical  and,  at  the  same 
i  time,  simple  and  serviceable  way  of 
fitting  up  a  bath,  is  to  use  either  a 
strong  tinned  iron  one,  or  a  cast  iron  enamel 
japanned  one  (see  Pigs.  13  and  14),  letting  the 
taps  come  along  the  side  or  foot  of  the  bath.  A 
hole  must  be  made  in  the  bottom  of  the  bath  if 
of  tinned  iron,  for  the  waste  pipe;  there  is 
usually  one  already  made  in  the  cast  iron  ones. 
Pig.  15  shows  a  plug  and  washer  for  this 
purpose  ;  it  is  made  sound  to  the  bath  with  red 
lead  cement,  and  a  lj-inch  lead  or  iron  pipe 
connected  to  it,  and  carried  outside  the  house. 
There  should  be  no  trap  in  this  waste  pipe  (it  is  ■ 
a  fruitful  source  of  stoppages),  if  the  waste  pipe 
is  carried  into  a  rain-water  cistern  head  outside, 
and  bent  down  into  it ;  this  will  be  sufficient 
if  the  rain-water  pipe  is  trapped  at  the  bottom, 
which  it  mostly  is.  If  no  rain-water  pipe  is 
near,  carry  the  pipe  down  the  wall,  and  let  it 
empty  over  an  open  grating.  An  overflow  pipe 
must  also  be  put  in  the  bath ;  this  should  be 
at  the  foot,  about  4  inches  from  the  top.  This 
pipe  can  be  jointed  into  the  waste  pipe  (Pig. 
16).  The  bath  must  be  kept  high  enough  to 
clear  the  pipes  unless  they  go  below  the  floor. 
The  cast  iron  bath  is,  plain  painted,  about 
£2  2s.  for  a  5  feet  6  inches  bath ;  or  japanned, 
£2  10s.  If  something  better  is  wished  for,  the 
bath  may  be  encased  in  wood,  with  taps,  over- 
flow, etc.,  fitted  up  in  a  different  manner ;  Pig. 
17  and  18  are  illustrations  of  this  style.  The 
taps  in  this  case  are  worked  by  levers  from  the 
top,  having  porcelain  studs,  with  "  hot,"  "  cold," 
and  "  waste  "  on  them  (Fig.  18).  This,  of  course, 
is  a  much  more  expensive  way  than  the  one 
previously  described,  and  more  trouble  to  fit  up  ; 
the  reader  must  be  guided  by  the  depth  of  his 
pocket.  It  is  usual  when  the  bath  is  fitted  up 
in  this  way,  and  is  placed  over  any  room  of 
consequence,   which   is  often   the   case,  to  put 


HOT   WATER  FITTING  FOR  SMAII   HOUSES. 


191 


what  is  called  a  "safe"  under  it;  this  consists 
of  a  lead  tray,  in  which  the  bath  stands ;  it 
should  be  about  4  inches  deep,  with  a  pipe 
leading  out  of  it  to  carry  the  waste  away.  A 
very  common  method  of  proceeding  with  this 
pipe  is  to  carry  it  into  the  waste  pipe  from  the 
bath ;  but  this  is  a  plan  I  do  not  recommend ;  in 
fact,  it  is  a  very  bad  plan,  for  if  the  waste  pipe 
gets  choked  up,  and  the  bath  should  overflow, 
the  safe  would  not  be  of  the  slightest  use ; 
therefore  always  carry  the  pipe  from  the  safe 
distinct  from  the  waste.  This  is  no  fanciful 
objection,  as  I  had  a  case  in  point,  only  a  few 
weeks  ago,  in  a  gentleman's  mansion.  Another 
defect  of  carrying  the  pipe  from  the  safe  into 
the  waste,  is  that  when  the  plug  is  lifted  in  the 
bath,  the  water  rushes  out  with  such  force  that 
part  of  it  is  driven  up  through  the  safe  pipe 
into  the  safe  ;  then  if  the  safe  is  not  flat  and 
level,  some  of  the  water  remains,  and  has  to  be 
mopped  out,  which  is  a  trouble. 

With  a  system  of  hot  water,  such  as  I  have 
described,  there  is  very  little  fear  of  any  accident 
or  failure  ;  still,  a  word  or  two  of  advice  in  ease 
of  an  accident  will  not  be  out  of  place.  Sup- 
posing that  on  turning  a  tap  which  should 
supply  hot  water,  none  is  forthcoming,  it  is  to 
be  presumed  that  there  is  no  water  in  the 
cistern  ;  the  reason  of  this  will  most  likely  be 
that  the  ball  tap  in  the  cold  water  cistern  has 
stuck  up,  and  kept  the  water  from  flowing  in. 
This  is  not  a  difficult  job  to  remedy :  apply  a 
little  oil,  and  work  it  up  and  down  a  time  or  two, 
when  it  will  go  all  right  till  it  sticks  again,  which 
with  some  ball  taps  is  a  frequent  occurrence. 
The  best  ball  tap  I  know  of  is  Goslin  and 
Brown's  patent.  I  can  say,  in  their  favour,  that 
they  are  exceedingly  simple,  easy  to  repair, 
though  seldom  out  of  order,  and  I  have  never 
known  one  stick.  The  manufacturers  are,  I 
believe,  Messrs.  Warner  and  Sons,  Cripplegate, 
London ;  but  they  can  be  had  of  most  iron- 
mongers or  plumbers.  Another  thing  to 
remember  is,  that  if  the  fire  has  been  lighted 
some  long  time  before  the  water  is  found  to 
be  gone,  it  is  not  advisable  to  turn  cold  water 
into  the  boiler  whilst  hot ;  the  fire  must  be  let 
out,  as  the  cold  water  coming  suddenly  into  a, 
perhaps,  red-hot  boiler,  would  create  a  body  of 


steam  that  might  seriously  injure  the  boiler. 
Another  accident  that  sometimes  happens  is  the 
expansion  pipe  freezing.  It  will  be  obvious  to 
the  dullest  understanding,  that  if  the  only 
escape  for  the  steam  is  stopped  up,  and  steam 
keeps  generating,  the  ultimate  result  will  be  a 
"bust  up,"  as  our  American  cousins  would 
call  it. 

Yes  !  some  one  says,  you  ought  to  have  put  a 
safety  valve  on  the  boiler.  Well,  that  is  a  very 
good  precaution  to  take,  and  I  have  nothing 
whatever  to  say  against  it ;  but  even  safety 
valves  stick  sometimes.  But  the  plan  I  am 
going  to  recommend  does  away  with  the 
necessity  of  putting  a  valve  on  the  boiler. 
That  is,  by  the  use  of  a^Randall's  patent  tap  as 
a  draw-off  for  the  kitchen  or  scullery ;  this  tap, 
probably  the  best  hot  water  tap  in  the  market, 
was  designed  by  Mr.  Eandall,  a  civil  engineer, 
of  Belsize  Park,  Hampstead,  at  whose  house  a 
fatal  explosion  occurred,  which  caused  that 
gentleman  to  study  the  question  of  taps,  and 
led  to  the  invention  of  the  tap  bearing  his 
name.  Fig.  19  is  a  sketch  of  it,  and  Fig.  20  a 
simple  sectional  view  of  the  interior.  It  will 
be  seen,  on  glancing  at  the  sectional  view,  that 
it  is  a  lever  tap,  and  that  the  valve  is  opened  by 
pressing  down  the  handle  ;  when  the  handle  is 
released,  the  brass  spiral  spring  pressing  against 
the  cap,  o,  of  the  tap,  also  presses  the  valve 
down  on  the  seating.  Now,  it  will  be  easily 
seen  that,  supposing  sufficient  pressure  coming 
in  the  direction  of  the  arrows,  it  would  force  the 
spring  and  valve  up,  and  relieve  the  pipes  of  the 
pressure.  The  strength  of  the  spring  can  be 
regulated  by  means  of  the  cap.  To  set  the  tap 
to  suit  the  pressure  applied,  unscrew  the  cap 
till  the  water  dribbles  out  a  little,  then  screw 
up  one  turn,  and  tighten  the  set  screw  ;  any 
extra  pressure  will  then  open  the  tap,  and  allow 
the  steam  or  water  to  escape,  thus  forming  a 
very  efficient  safety  valve,  and  being  constantly 
in  use,  is  not  liable  to  fail  in  action  when 
required.  They  are  expensive,  but  are  worth 
the  extra  that  they  cost  over  other  taps ;  in 
fact,  too  much  can  hardly  be  said  in  praise  of 
them.  They  are  also  a  preventative  of  waste, 
as  the  handle  must  be  held  all  the  time,  and 
the   tap  cannot   be    left    turned    on.      One   of 


192 


HOT   WATER  FITTING  FOR   SMALL   HOUSES. 


these   taps   will   be    enough,  and   that   should 
be  fixed  as  near  the  boiler  as  is  convenient. 

To  enable  the  water  to  retain  its  heat  as 
long  as  possible  after  the  fire  is  let  out  at 
night,  so  that  the  water   may  get  hot  quickly 


was  cased  in  wood,  and  packed  with  felt ;  the 
fire  had  been  out  two  days,  but  the  water  was 
still  very  warm.  Thus,  though  not  absolutely 
essential,  the  covering  in  of  the  cistern  and 
pipes,  where  practicable,  makes  a  better  job. 


in  the  morning,  it  is  usual  to  cover  in  the 
cistern  with  hair  felt,  and  also  any  pipe  that 
runs  in  the  roof,  or  in  any  situation  exposed  to 
cold;  this  material  being  a  non-conductor  of 
heat,  the  water  in  the  tank  and  pipes  cools  very 
slowly.     In  one  instance  I  opened  a  cistern  that 


DESCRIPTION  OF  FIGURES. 
.  I3. —TINNED  IRON  BATH.  FIG.  14.— CAST  IRON  BATH.  FIG.  15.— WASHER 
AND  WASTE.  FIG.  16— DIAGRAM  SHOWING  CONNECTION  BETWEEN  WASTE 
PIPE  AND  OVERFLOW  PIPE.  FIG.  17.— BATH  ENCASED  IN  WOOD  WITH 
LEVER  ARRANGEMENT  OF  TAPS.  FIG.  I  8.— SET  OF  BATH  TAPS  AS  ABOVE. 
FIG.    19. — RANDALL'S  TAP.      FIG.    ZO.  -SECTION   OF  SAME. 


In  concluding  these  papers,  let  me  say  that 
though  I  have  tried  to  be  as  clear  as  possible  in 
my  explanations,  yet  there  may  be  details  left 
out ;  some,  perhaps,  that  I  have  not  thought  it 
worth  while  to  take  up  space  with,  and  some 
perhaps  inadvertently.  Should  this  be  the  case, 
I  can  only  say  that  I  will  rectify  this  fault  in 
"  Amateurs  in  Council." 


A   SIMPLE   BEDROOM  OVERMANTEL. 


193 


A    SIMPLE    BEDROOM 
OVERMANTEL. 

By    ALEXANDER    MARTIN. 


T  is,  I  well  know,  not  a  very  usual  thing 
to  have  an  overmantel  in  a  bedroom, 
but  that  is  generally 

because  of  the  expense  such 

a  luxury  would  entail.      The 

subject    of     this     article     is, 

however,   a   very  inexpensive 

one — so  inexpensive,  in   fact, 


it  to  make  it  complete.  The  general  appearance 
is  to  be  seen  in  Fig.  1 ,  where  two  shelves  are 
fixed  one  above  the  other,  the  lower  one  being 
just  a  few  inches  up  from  the  mantel-shelf. 
Two  brackets  support  the  lower,  and  two  pillars 
support  the  upper  shelf.  The  three  panels  are 
filled  with  plush,  velvet,  Japanese  paper,  Linc- 
rusta,  Anaglypta,  or  any 
such  like  material,  and  a 
little  moulding  planted  on 
the  edge  covers  up  any 
irregularities      there     may 


FIG     2        Shape  of  back. 


that  if  labour  be  not  included  in  the  cost,  as  it 
never  is  when  making  a  thing  for  oneself,  the 
whole  will  not  amount  to  more  than  about  a 
couple  of  shillings.  This  is  not  much  to  spend 
on  such  a  little  article  as  this  bedroom  over- 
mantel is  ;  and  being  rather  uncommon  in  its 
appearance,  it  has  a  unique  look  that  is  quite 
interesting  in  these  days,  when  the  chimney- 
piece  must  have  its  three  bevelled  mirrors  above 


be,  and  forms  a  satisfactory  finish.  This,  how- 
ever, will  be  fully^explained  later  on. 

If  there  is  a  gas  jet  on  the  mantel-shelf,  it 
will  not  be  interfered  with  at  all,  as  the 
stationary  portion  of  the  gas-fittings  will  stand 
underneath  the  lower  shelf. 

To  begin  with  the  actual  making  :  the  whole 
is  built  upon  the  back  board.  It  is  in  one  piece, 
the  length  of  the  width  across  the  jambs ;  in  this 


194 


A   SIMPLE  BEDROOM  OVERMANTEL. 


ease  it   is    4  feet    6  inches    long,  and  f  inch, 
thick.     At  its  highest  part  it  is  1  foot  1 1  inches; 
and  as  this  width  is  not  to  be  had  in  ordinary 
white  wood,  the  board  must  be  jointed  to 
obtain   this   width.     In  Fig.   2  is  shown 
how  the  back  board  is  shaped;  and  to  draw 
in  the  various  curves,  the  following  sizes 
and  particulars  will  be  of  service  to  some, 
at  least,  of  those  who   read  these  lines. 
Dress  up  the  lower  edge  of  the  back  board, 
and  draw  a  centre  line,  as  shown  by  dotted 
line  in  Fig.  2.     The  full  length,  as  already 
mentioned,    is    4   feet   6   inches,    so   that 
makes  2  feet  3  inches  on  each  side  of  the 
centre  line.     A  perpendicular  line  should 


JkbudlidV 


1  foot  3£  inches  long  by  5J  inches  wide,  and 
£  inch  thick,  with  a  hollow,  or  "  cavetto,"  as 
it  is  called,  worked  on  the  front  and  both  ends, 
as  in  Fig.  3.  The  first  or  lower  shelf  is 
supported  by  a  bracket  at  each  end,  which 
bracket  is  5  inches  long  or  high,  and  4f 
inches  wide  at  top,  and  1  \  inches  wide  at 
foot,  shaped  as  shown  in  Fig.  4.  These 
brackets  are  £  inch  thick,  and  should  be 
shaped  neatly  and  cleanly.  The  upper 
shelf  is  supported  by  two  turned  pillars 
placed  on  the  lower  shelf.  Each  pillar  is 
1 1  inches  long  over  the  shoulders,  i.e.  the 
two  pins,  one  at  each  end,  for  fixing  to 
the   shelves,   are   outside  the    11   inches. 


FIG.  7. — TORUS   BEAD  AND  LIST. 


// 


PIG.  3. — MOULDING  ON  EDGE  OF  SHELVES. 

be  there  drawn,  and  the  horizontal  portion 
at  a  also  drawn  parallel  with  the  bottom 
edge,  and  9  inches  distant  from  it.  The 
curves  at  the  end  are  then  drawn  in,  either 
by  freehand  or,  if  that  cannot  be  satis- 
factorily accomplished,  the  compasses  may 
be  brought  into  requisition.  At  a  distance 
of  1  foot  7  inches  from  the  centre  line  the 
horizontal  portion  begins  to  rise  to  point 
b,  which  point  is  1  foot  3  inches  from  the 
centre  line,  and  1  foot  4  inches  from  the 
bottom  edge.  At  c  the  greatest  distance  is 
1  foot  4|  inches  from  the  centre  line,  and 
at  d  1  foot  8£  inches  from  the  bottom 
edge ;  e  and  f  being  1  foot  6|  inches  and 
1  foot  10£  inches,  respectively,  from  the 
same  place.  The  full  distance  to  g,  the  highest 
point  of  the  back,  is  1  foot  1 1  inches,  and  with 
these  sizes  indicated,  the  various  curves  are 
drawn  by  freehand  to  coincide  with  them. 

This  being  done,  the  two  shelves  are  prepared, 


FIG.  6.  — MOULD- 
ING ON    BASE. 


FIG.  4. — BRACKET    UNDER 
LOWER    SHELVES. 


Their  greatest  diameter  is  1^  inches,  and 
the  members  of  the  turning  are  shown  in 
Fig.  5,  which  is  drawn  about  half  full  size. 
After  the  shelves  have  been  fitted  in  their 
places,  they  should  be  taken  off,  leaving 
the  back  board  quite  clear  and  flat.  The 
positions  the  panel  mouldings  will  occupy 
should  then  be  marked  off,  and  the  base 
planted  round.  This  base  is  1£  inches 
high  by  &  inch  thick,  with  a  "  cavetto  " 
worked  off  its  upper  corner,  as  shown 
in  section  in  Fig.  6.  It  being  planted 
on,  in  one  Ions'  strip,  all  the   length  of 

FIG.  5.— TURNED  '  ,-,,;■,  i  a      .. 

pillars  sup-  the  overmantel,  and  mitred  at  eacn  end,  it 

should  be  cut  away  to  allow  the  brackets 

to  fit  in. 

Our    overmantel  is    now  ready  for    covering 

with  enamel — white,   cream,  pink,  sky  blue,  or 

any  of   the    pretty   tints  which    are    so    easily 

obtained.        After     each     of     the     pieces     is 

well  coated  and  finished,  the  panels  are  filled 


PORTING     UP' 
PER  SHELF. 


A    CARRIAGE  JACK. 


195 


in  on  the  back  board,  the  spaces,  of  course, 
having  been  left  untouched  from  the  marked 
position  of  the  mouldings,  as  before  mentioned. 
Whatever  material  is  used,  the  colours  ought  to 
be  such  as  will  harmonise  with  the  colour  of  the 
wood.  When  this  is  glued  fast,  a  little  torus 
bead  and  list,  as  shown  in  Fig.  7,  is  prepared, 
with  a  check  off  one  side,  as  shown,  to  overlap 
the  edge  of  the  material  in  the  panel.  This 
moulding  mitred  round  the  panels,  it  is  taken 
off  and  enamelled  the  same  colour  as  the  other 
wood.  When  dry,  the  various  portions  are 
glued  fast,  and  further  secured  by  means  of  a 
needle-point  here  and  there.  The  shelves  being 
next  screwed  in  their  places,  the  whole  is 
complete,  and  ready  for  setting  in  its  place.  A 
little  brass  plate  at  each  of  the  two  ends  will  be 
the  best  means  for  fixing  it  to  the  wall,  and 
keeping  it  firm  and  secure. 


A    CARRIAGE    JACK, 

By  J.  L.  DWTER,  B.A. 


:  NE  of  the  great  advantages  of  such  a 
magazine  as  Amatettk.  Work  is  that 
in  it  we  get  the  experiences  of  others 
recorded.  It  will  be  pretty  generally  admitted, 
I  think,  that  the  designing  of  an  article  is  far 
more  perplexing  than  its  construction.  There 
are  so  many  things  to  be  considered — whether 
the  parts  are  mutually  balanced,  whether  each 
is  strong  enough  for  the  strains  which  it  has  to 
bear,  whether  the  structure  when  complete  will 
not  look  top-heavy  or  lop-sided ;  these  and  a 
multitude  of  other  considerations  harass  the 
designer  who  would  have  his  work  a  success, 
both  from  the  Eesthetic  and  practical  points  of 
view. 

For  instance,  I  wanted  to  construct  a  simple 
jack  for  raising  the  wheels  of  my  Polo  cart,  so 
that  they  could  be  revolved  during  the  operation 
of  washing.  In  vain  did  I  search  my  mechanical 
books  for  a  description  of  what  would  suit  me. 
My  friends  had  jacks  in  their  yards,  but  they 
were  either  made  of  iron,  or  were  too  heavy,  or 
too  complicated  for  my  requirements.  I  wanted 
something   which  could  be  made  quickly  and 


with  little  waste  of  material.  Of  course  all 
jacks  are  nearly  the  same  in  principle — a  lever 
supported  by  a  pillar  which  in  turn  stands  upon 
a  pedestal  or  base.  Now,  to  start  at  the  lowest 
part,  the  base  had  to  be  considered.  This 
might  have  had  three  legs,  after  the  manner  of 
a  tripod,  and  perhaps  that  would  have  been  the 
best  way  to  make  it,  but  it  would  have  entailed 
too  much  labour  for  my  fancy,  or  it  might  have 
consisted  of  a  plain  rectangular  board,  lying 
flat  on  the  ground,  or  with  three  or  more  short 
legs  affixed  to  its  under  surface.  Then  the  size 
of  the  base  board  had  to  be  thought  of.  If  it 
was  too  small  there  would  be  a  danger  of  the 
whole  apparatus  tumbling  over,  possibly  taking 
with  it  the  trap,  if  it  happened  to  be  supporting 
the  axle  when  a  wheel  was  off.  If,  on  the 
other  hand,  it  was  too  large,  it  would  be  waste 
of  material,  and  might  look  uncouth.  It  would  be 
better,  however,  to  err  on  the  side  of  largeness, 
as  it  would  be  much  harder  for  a  base  to  look 
too  large  than  too  small.  I  happened  to  have 
a  piece  of  deal  plank,  16  inches  long,  9  inches 
wide,  \\  inches  thick,  in  my  workshop,  and  of 
this  I  made  the  base.      It  acts  very  well,  but  if 

1  were  making  another,  I  think  I  would  have  it 
a  couple  of  inches  longer.  Now  for  the  pillar. 
It  should  be  strong  and  very  rigidly  fastened  to 
the  base  board.  As  before,  I  utilised  a  piece  of 
wood  which  happened  to  be  lying  about.     It  is 

2  feet  6  inches  long,  3i  inches  wide,  and  \\ 
inches  thick.  Having  planed  this  true  and 
square,  I  drew  with  a  pencil  lines  parallel  to 
the  sides,  and  \\  inches  from  them,  thus  having 
the  two  pencil  marks  \\  inches  apart.  I  then 
sawed  along  these  lines  for  a  distance  of  9  inches 
from  one  end,  and  with  a  chisel  removed  the 
middle  piece  thus  formed.  This  operation  made 
a  space  \\  inches  wide  and  9  inches  long,  in 
which  the  lever  handle  afterwards  worked. 
Turning  now  to  to  the  base  board,  I  made  a 
mortise  or  rectangular  hole  1\  inches  by  \\ 
inches  in  its  centre,  the  length  of  the  mortise 
being  across  the  board.  I  then  cut  a  tenon  on 
the  lower  end  of  the  pillar,  so  as  to  fit  the 
mortise  in  the  base  board.  This  was  easily 
effected  by  simply  cutting  a  j-  inch  from  each 
side  of  the  pillar,  leaving  a  shoulder  to  abut 
against  the  base.     Having  then  applied   plenty 


196 


A    CARRIAGE  JACK. 


of  glue  to  the  tenon  and  mortise,  I  put  them 
together,  and  drove  a  number  of  good  wedges 
into  the  pillar  underneath,  so  as  to  make  all  as 
firm  as  possible.  I  took  care  during  all  this 
time  to  keep  the  pillars  at  right  angles  to  the 
base.  I  knew  that  when  the  strain  came  upon 
it  the  pillar  thus  affixed  without  stays  would 
collapse,  so  I  contrived  a  pair  of  stays  which  I 
consider  very  successful.  I  got  a  long  piece  of 
hoop  iron,  one  of 
the  slats  of  an 
iron  bedstead,  and 
nailed  one  end  to 
the  lower  end  of 
the  pillar,  turning 
up  the  base  board 
for  the  purpose. 
I  used  strong  wire 
nails  3  inches 
long,  and  found 
no  difficulty  in 
driving  them 

through  the  hoop 
iron  without  pun- 
ching. Having 
affixed  one  end  of 
the  hoop  in  such 
a  way  that  it  was 
parallel  to  the 
sides  of  the  base, 
I  turned  it  up 
sharply  over  the 
end  of  the  base, 
and  affixed  it  with 
two  more  nails  driven  into  the  end  grain  of 
the  base.  Passing  it  up  to  the  pillar  and 
through  the  space  prepared  for  the  handle,  I 
drove  two  more  nails  down  through  the  iron 
and  into  the  pillar ;  again  turning  the  iron 
sharply,  over  I  brought  it  to  the  end  of  the  base 
board  again,  and  fastened  it  with  a  couple  of 
nails.  I  then  bent  the  iron  along  the  under 
surface  of  the  base  so  that  the  two  ends  met  and 
were  fastened  together  with  nails  driven  through 
them  and  up  into  the  pillar.  Thus  there  is  a 
strap  of  strong  hoop  iron  forming  an  endless 
band  to  unite  and  keep  in  their  relative  positions 
the  base  and  pillar.  The  handle  is  a  piece  of 
deal  2  feet  4  inches  long.  \\  inches  thick,  and 


The   Carrtagr 


JacU  . 

complete 


2  inches  deep.  One  end  is  hooked  something 
like  an  eagle's  beak,  but  much  less  ;  the  object 
of  the  hook  being  to  prevent  the  axle  slipping 
off  when  the  carriage  is  raised.  It  would  be 
well  if  a  knot  or  curl  were  in  that  part  of  the 
handle,  as  soft  deal  would  soon  be  bruised  out 
of  shape,  and  should  be  bound  with  iron  or 
some  other  metal.  Five  inches  from  this  end  a 
f  -inch  hole  is  made  across  the  handle  for  a  pin 

to  work  in.  The 
other  end  of  the 
handle  is  rounded 
to  be  grasped, 
the  extreme  end, 
especially,  having 
the  sharp  corners 
taken  off.  Apiece 
of  light  chain, 
such  as  is  used 
for  dogs,  about  6 
inches  long,  may 
be  fastened  to  the 
lower  side  of  the 
handle  with  a 
staple  about  4 
inches  from  the 
rounded  end. 

The  jack  may 
now  be  brought 
to  the  cart,  and 
placed  in  the  posi- 
tion which  it  is  to 
occupy  when  in 
use.  The  handle 
may  be  put  in  its  place,  the  rounded  end  being 
higher  than  the  horizontal  position,  and  the  place 
marked  as  nearly  as  possible  where  the  pin  pass- 
ing through  would  strike  the  hole  already  bored 
in  the  handle.  Or  a  better  plan  might  be  to  omit 
the  boring  of  the  handle  till  this  stage,  when  the 
hole  could  be  bored  right  through  pillar  and 
handle  at  once.  An  iron  pin  f  inch  thick  and 
4  inches  long,  with  an  eye  at  one  end,  could  be 
secured  to  the  handle  or  pillar  with  twine  or  a 
light  chain,  and  would  act  as  a  pivot  on  which 
the  handle  could  work  ;  but  if  the  jack  is  used 
for  one  carriage  only,  a  bolt  fastened  permanently 
would  be  more  satisfactory.  We  are  now  able 
to  raise  the  wheel  by  means  of  our  jack,  but  we 


A    CLOTHES  SPRINKLER. 


197 


require  to  keep  it  raised,  and  with  this  object  a 
piece  of  iron  \  inch  thick  is  hooked  at  one  end, 
and  the  other  end  being  turned  up  square  is 
driven  into  the  base  board  in  such  a  way  that 
the  iron  rod  stands  nearly  parallel  to  the  pillar 
with  the  hooked  end  up,  inviting  the  chain  to 
engage  it.  A  staple  will  make  the  rod  more 
firm  in  its  position.  An  alternative  plan 
would  be  to  have  a  chain  stapled  to  the  end 
of  the  base  board,  and  long  enough  to  reach 
the  end  of  the  handle  where  there  is  a  hook  to 
receive  it. 

The  entire  affair  is  shown  in  the  figure,  and  I 
trust  that  what  I  have  written  will  enable  any 
of  my  readers  to  follow  in  my  steps  and  make  a 

7 ^Bccty  of  Sprinkler 


FIG.   I. — METHOD  OF  SETTING  OUT   MITRE. 

highly  efficient  and  very  simple  carriage  jack. 
A  couple  of  coats  of  oil  paint  would  extend  its 
life  very  much  ;  and  if  ash  could  be  got  easily, 
as  a  material  for  construction,  so  much  the 
better. 


To  Bbonze  Plaster  Casts. — The  following  is 
given  as  a  process  used  in  France  for  this  pur- 
pose. Linseed  oil  soap  is  made  by  saponifying 
the  oil  with  caustic  soda,  and  precipitating  the 
soap  with  salt.  It  is  separated,  dissolved  in 
rain  water,  and  a  mixture  in  solution  of  four 
parts  blue  vitriol  and  one  part  copperas  is 
added  as  long  as  a  precipitate  forms.  This  is 
filtered  out,  washed  and  dried,  and  8f  ounces 
are  applied  with  1  pound  quick  drying  varnish, 
and  5J  ounces  white  wax.  This  is  applied  to 
the  surface  previously  heated,  and  is  baked  in 
if  necessary.  The  high  parts  are  touched  up 
with  a  bronze  powder.  As  a  simpler  process, 
shellac  the  bust,  and  then  gild  it  with  bronze 
powder  and  varnish.  The  varnish  is  sold  with 
the  powder. 


A  CLOTHES  SPRINKLER. 

By  U.  J.  W. 

aHE  drawings  show  a  clothes  sprinkler, 
which  I  have  just  invented.  I  have 
shown  it  in  side  elevation  and 
sectional  elevation,  so  as  to  clearly  convey  the 
idea  as  to  how  it  is  constructed.  The  material 
used  in  its  manufacture  is  either  zinc  or  brass ; 
should  the  latter  be  used,  it  should  be  tinned 
inside.  The  cylindrical  tube  which  forms  the 
body,  has  a  "  lap  "  or  "  lock  "  seam,  as  desired  ; 
should  the  last  mentioned  be  chosen,  it  must  of 
course  be  soldered  on  the  inside,  to  prevent 
leakage.     The  handle  is  securely  soldered  inside 


the  "hollowed"  or  "blocked"  cover;  it  is 
then  "  clapped  on  "  and  soldered  to  one  end  of 
the  body  of  sprinkler.  At  the  other  end  of  the 
body  a  tapered  tube  is  mitred  ;  this  can  have  a 
"lock"  or  "  lap  "  seam,  as  preferred,  and  is  cut 
like  Fig.  1 ,  which  shows  the  proper  method  of 
describing  the  required  pattern  of  any  mitre. 
At  the  end  of  tapered  tube  is  soldered  a  water- 
pot  rose ;  these  are  made  by  machinery  here 
(America),  but  a  rose  made  like  an  ordinary 
English  water-pot  will  suit  admirably.  It  can  be 
unscrewed  for  cleaning  as  often  as  required,  and 
it  will  be  found  to  do  its  intended  work  easily 
and  quickly,  a  a  are  rings  or  washers  made  like 
Fig.  2,  which  are  secured  at  places  indicated  by 
arrow  heads,  and  a  spiral  spring  is  inserted 
between  them,  the  end  of  spring  being  securely 
soldered  to  lever  b  at  c. 


198 


A    CLOTHES  SPRINKLER. 


Bottle  screw 


The  diameter  of  the  spiral  spring  should  be 
iV  inch  smaller  than  body  of  sprinkler,  so  that  it 
will  work  accurately,  and  should  be  made  of  not 
larger  than  No.  10  or  12  wire. 

d'  and  d=  are  bosses  or  burrs,  which  are 
butted  against  each  side  of  the  leather  washer,  e, 
which  is  \  inch  smaller  than  the  body  of  the 
sprinkler,  d1  is  \  inch  smaller  than  the  leather 
washer,  e,  and  d=  is  a  trifle  smaller  than  inside 
diameter  of  washer,  a.  f  is  a  burr  soldered  to 
the  lever  b,  and  g  is  a  gutta  percha  or  leather 
washer  secured  on  upper  side  of  burr,  f,  to 
prevent  leakage   through   the   lever   hole   (see 


FIG.  2.— WASHERS.     HALF   SIZE. 


A   DAVENPORT    WRITING  DESK,    WITH  CONCEALED  FLAP. 


199 


sectional  elevation).  A  bottle  screw  is  inserted 
in  the  body  of  the  sprinkler,  as  shown  ;  it  can  be 
bought  at  any  hardware  store  for  a  small  sum. 

The  water  cannot  escape  unless  the  lever,  b,  is 
pressed,  when  it  will  be  found  to  flow  freely ; 
and  as  soon  as  the  pressure  is  taken  off,  the 
lever  will  resume  its  former  position,  and  the 
water  is  stopped  instantly,  the  principle  being 
the  same  as  that  in  an  engineer's  oil-feeder. 

This  little  instrument  facilitates  the  "  damping 
down "  of  clothes  to  a  very  great  extent, 
compared  with  the  old  fashion  way  of  sprink- 
ling with  the  hand,  and  it  is  an  improvement  on 
the  "  Heathen  Chinee,"  who  fills  his  mouth 
full  of  water,  which  he  expectorates  on  the 
clothes  as  they  require  it ;  his  method  is  rather 
an  unpleasant  one,  and,  to  make  the  best  of  it, 
is  not  a  cleanly  habit. 

The  joints  mentioned  above  have  been  fully 
described  in  Amateur  Work,  Vol.  II.  (New 
Series),  page  289. 


A   DAVENPORT    WRITING  DESK, 
WITH  CONCEALED  FLAP. 

By  JAMES  SCOTT. 


8|30  have  an  article  which  shall  be  of 
utility,  and  be  of  comparatively  small 
proportions,  and  which  shall  also 
possess  other  advantages  in  extra  conveniences 
to  be  derived  from  it,  is  the  desire  of  most 
persons  who  have  but  a  limited  space  in  which 
to  place  their  furniture. 

If  the  rooms  mainly  inhabited  by  the  middle 
classes  were  stocked  with  all  the  furniture 
the  occupants  considered  of  service,  modern 
"  Daniel  Webster's  "  would  find  it  very  annoy- 
ing and  uncomfortable  to  live  in  them.  When 
a  lady  sees  a  particular  piece  of  furniture,  and 
believes  it  to  be  a  necessary  article,  if  she  finds 
that  her  apartment  will  be  rendered  inconvenient 
by  its  presence,  she  naturally  feels  very  dis- 
appointed. 

Although  some  rooms  are  exceedingly  large 
in  proportion  to  others,  the  average  cannot  be 
said  to  be  in  any  way  so  commodious  as  they 
might  be.     Look  through  a   furnishing  firm's 


catalogue,  and  tick  off  all  the  things  you  would 
like,  because  you  think  they  are  so  useful,  and 
then  measure  your  apartment,  and  notice  how 
the  corners,  projections,  etc.,  of  the  various 
articles  would  stick  in  the  way  of  moving 
humanity  if  you  adorned  your  room  with  them. 

It  is  because  I  have  understood  this  fact  for 
some  time,  that  I  have  designed  the  writing 
desk  here  illustrated.  Look  at  Figs.  1  and  2, 
and  in  the  former  you  will  see  the  article 
entirely  closed,  and  in  the  latter  entirely  open  ; 
that  is,  with  the  exception  of  the  drawers.  The 
opening  is  effected  by  two  movements,  the  first 
being  the  pushing  up  of  the  revolving  shutter 
at  the  top  ;  and  the  second,  the  pulling  out  of 
the  front-shaped  piece,  which  brings  with  it  the 
writing  flap.  When  the  article  is  closed,  this 
flap  is  concealed,  with  the  exception  of  the  front 
edge,  between  the  top  carcass  and  the  drawers. 

Were  the  article  to  be  joined  firmly  together, 
so  that  it  would  always  be  as  in  Fig.  2,  it  would 
occupy  nearly  twice  as  much  space  as  it  will 
according  to  my  design.  And  yet  this  arrange- 
ment does  not  weaken  the  flap,  which  will  have 
a  very  firm  support  in  the  front-shaped  piece. 

With  regard  to  the  writing  flap  coming  from 
the  back  to  the  front,  the  old-fashioned  bureau 
is  an  example  ;  but  with  this,  and  other  kinds, 
after  the  flap  has  been  brought  into  position, 
two  pieces  of  wood  have  to  be  drawn  out,  or 
else  two  brackets  brought  round  to  support  it ; 
whereas  in  the  present  article  nothing  more  is 
necessary  to  get  the  flap  into  position  and  to 
support  it,  than  to  draw  outwards,  by  means  of 
the  handle  shown,  the  front-shaped  piece. 
Then  again,  in  the  bureau,  etc.,  by  reason  of 
the  space  required  for  the  flap  to  revolve  in,  no 
stationery  cabinet  could  be  fitted  in  at  the  top 
as  in  my  design.  I  believe  I  am  the  first  to 
introduce  this  method. 

No  more  skill  is  required  to  accomplish  the 
completion  of  one  of  these  writing  desks  than 
that  possessed  by  the  average  amateur,  and  I 
believe  it  is  quite  sufficient  and  praiseworthy. 

Beginning  at  the  plinth,  it  will  be  31  inches 
long,  19  inches  wide,  and  4 J  inches  deep,  and 
f  inch  thick,  and  should  be  bevelled  round  the 
top  edges.  The  parts  should  be  dovetailed 
together,    and   have   a   board   sunk   at    |   inch 


200 


A   DAVENPORT    WRITING  DESK,    WITH   CONCEALED  FLAP. 


depth,  which  must  fit  into  grooves  on  the  inside 
of  the  plinth  boards.  One  corner  of  this  board 
and  half  the  plinth  (minus  the  former)  are 
shown  in  Figs.  4  and  3,  respectively.  To  the 
plinth  is  screwed,  from  underneath,  the  main 
carcass,  a  general  idea  of  which  is  presented  in 
Fig.  5.  The  length  of  the  bottom  board  is  30 
inches,  the  width  18  inches;  the  height  of  the 
front  board  (from  the  top  of  the  bottom  board) 
will  be  29J  inches,  the  width  30    inches  ;  the 


fitted  to  the  opposite  end  of  the  job.  I  will 
give  no  sizes  for  these  drawers,  as  they  can 
be  ascertained  from  the  sizes  of  other  parts,  and 
the  article  is  not  limited  to  four  or  eight. 

The  front  board  must  be  cut  as  shown  in  Fig. 
7,  the  opening  being  the  same  width  and  length 
as  the  thickness,  etc.,  of  the  writing  flap ;  it  is 
through  this  opening  that  the  flap  passes.  A 
board  should  be  joined  to  the  front  and  back 
boards,  as  shown  by  the  dotted  lines  in  Fig.  7. 


FIG.  I.— DESK  CLOSED. 


height  of  the  backboard  32J  inches,  and  the 
same  width  as  the  front  board.  The  drawers 
(for  which,  I  dare  say,  no  instructions  will  be 
necessary,  as  they  will  be  dovetailed  and 
bevelled)  will  run  on  mortised  and  tenoned 
frames,  which  should  be  joined  to  the  front  and 
back  boards,  as  in  Fig.  6,  in  which  diagram  b 
represents  a  frame,  and  a  the  front  or  back- 
board. If  drawers  on  each  side  are  used,  it  will 
be  necessary  to  have  upright  divisions  in  the 
middle  of  the  carcass,  as  I  show ;  but  if  the 
drawers  are  made  to  open  on  one  side  only,  do 
away  with  these   divisions,  and  have  a  board 


FIG.    2.— DESK   OPEN. 

To  this  board  is  joined  inside  two  brackets,  as 
in  Fig.  8,  which  must  be  the  same  distance 
apart  as  the  length  of  the  front  opening 
Concerning  the  reason  why  we  must  have  these 
brackets,  I  will  say  more  latter  on.  The  front 
board  will  be  joined  to  the  bottom  board  at 
2  inches  distance  from  the  front  of  the  latter. 
Between  the  back  and  front  boards,  at  the  top, 
will  be  joined  two  boards  (one  on  each  side), 
with  a  little  incising  on  them  as  ornament. 
The  fitting  in  of  these  two  pieces  should  be  left 
until  all  the  rest  of  the  main  carcass  is  put 
together,  for  reasons  explained  lower  down. 


A   DAVENPORT    WRITING  DESK',    WITH  CONCEALED  FLAP. 


201 


The  top  board  will  be  31  inches  long,  19| 
inches  wide,  and  about  \  inch  thick,  and 
Tounded  on  its 
edges.  A  square 
moulding  will  run 
all  the  way  round 
it,  into  which  will 
fit  the  top  carcass  ; 
but  it  must  be 
borne  in  mind,  that 
the  front  and  back 
pieces  of  it  must  be 
canted  on  one  side 
in  each,  as  in  Fig. 
9,  making  those 
sides  perpendicu- 
lar. If  the  boards 
composing  the  re- 
mainder of  the 
main  carcass  were 
\  inch  thick,  they 
would  be  quite 
suitable.  Two  co- 
lumns will  give  us 
ornament  for  the 
front,  where  they 
should  be  glued  ; 
they  must  be  no 
thicker  than  will 
allow  the  writing 
flap  to  enter  and 
exeunt,  which  will 
be  about  2  inches. 

Ascending,  we 
come  to  the  top 
carcass.  Starting 
with  the  back- 
board, it  will  con- 
sist of  a  f-ineh 
framing,  mortised 
and  tenoned,  with 
a  board  of  thinner 
stuff  framed  with 
it,  and  should  be 
dovetailed  to  the 
sides  of  the  top 
carcass.  This  back- 
board is  shown  in  Fig.  10.  The  necessary  parts 
should  be   moulded  as  in  Fig.  11,  at  the  back 


F  i  C  a. 


of  which  will  fit  into  them  two  looking-glasses, 
each  held  in  position   by   a   thin  board.     The 

back  will  be  sur- 
mounted by  a 
moulding  and 

pediment  and  two 
turned  ornaments. 
The  bracket  on  the 
front  is  half  of  a 
turned  ornament. 
The  height  of  the 
back  will  be  about 
23  inches. 

The  insides  of 
the  two  sides  must 
have  a  deep  groove 
running  round 
them  in  the  shape 
of  a  half-circle,  as 
in  Fig.  12.  These 
sides  and  the  back 
are  connected  with 
a  thin  bottom 
board,  to  fit  into 
the  top  board  of 
the  main  carcass. 
This  bottom  board 
will,  of  course,  be 
on  the  slope,  and 
it  will  require  nine 
small  pieces  of 
thin  wood  (three  of 
which  will  be 
triangular)  to  be 
glued  on  to  it,  to 
form  receptacles 
for  ink-bottles  and 
pens.  The  station- 
ery rack  should  be 
made  separately, 
and  either  glued  in 


FIG. 7. 


FIG. 
5- 


4. — ONE    CORNER    OF    BOARD 
-A   GENERAL    VIEW    OF  MAIN 


FIG.  3. — SHOWING  HALF  THE   PLINTH. 
TO    BE  JOINED    INTO    PLINTH.        FIG 

CARCASS.    FIG.  6. — METHOD  OF  JOINING  DIVISIONS  BETWEEN  DRAWERS 
TO  THE   BACK   AND    FRONT   BOARDS.      FIG.  7. — SHOWING   HOW  TOP  OF 

FRONT  BOARD  IS  CUT.  FIG.  8. — SHOWING  WHERE  TO  FIT  BRACKETS  or  kept  in  position 
AS  GUIDE  FOR  WRITING  FLAP.  FIG.  9. — SECTION  OF  TOP  BOARD,  ETC.  , 
FIG.  IO  —THE  BACK  BOARD  OF  TOP  CARCASS.  FIG.  II. — SECTION  OF 
MOULDING  ROUND  GLASS  FRAMES.  FIG.  12. — SHOWING  SIDE  BOARD 
OF  TOP  CARCASS  WITH  GROOVE  FOR  REVOLVING  SHUTTER.  FIG.  13  — 
HOW  TO  CONNECT  THE  WRITING  FLAP  AND  TOP  BOARD  OF  MAIN 
CARCASS.  FIG.  14  — PEG  TO  BE  DRIVEN  INTO  EACH  END  AT  BACK  OF 
WRITING    FLAP.      FIG.    15.  —  HANDLE    FOR    FRONT-SHAPED    PIECE. 


by  means  of  a 
narrow  strip  of 
wood  along  the 
bottom  board,  just 
in  front  of  it.  If 
this  stationery  cabinet  is  made  according  to  my 
design,    it   will   consist   of    the   following : — A 


202 


A   POCKET  MUSIC  STAND    OR  BOOK  REST. 


bottom  board  28-|-  inches  long  and  5  inches  wide, 
a  front  board  28J  inches  long  and  6  inches 
wide,  a  backboard  28£  inches  long  and  7\ 
inches  wide,  two  sides  each  1\  inches  long  (at 
the  back)  and  4|  inches  wide,  two  divisions  28| 
inches  long  and  6£  inches  wide  and  28|  inches 
long  and  7  inches  wide  respectively,  and  nine 
smaller  divisions,  the  sizes  of  which  can  be 
ascertained  from  the  former. 

Now  we  come  to  the  revolving  shutter.  To 
make  this,  get  a  number  of  laths,  either  \  inch 
or  f  inch  wide,  and  comparatively  thin,  sufficient 
to  cover  the  front  half  of  the  top  of  the  article 
when  within  the  groove.  Then  glue  them  flatly 
and  close  together  on  to  a  piece  of  canvas,  and 
after  fastening  one  or  two  knobs  on  the  front, 
slip  them  into  the  groove  before  the  bottom  board 
is  fitted  in.  To  open  this  fully  it  will  only  be 
necessary  to  push  it  upwards  and  backwards, 
when  it  revolves  through  the  other  half  of 
the  groove.     Weights  at  the  back  are  useful. 

All  that  remains  now  is  the  writing  flap,  etc. 
It  will  be  26  inches  long  and  16  inches  wide, 
and  the  front  of  it  will  be  hinged  to  the  top 
of  the  front  shaped  piece.  It  should  be  lined 
on  top  with  ornamental  leather.  The  front 
edge  must  be  canted  or  rounded  off ;  both 
flap  and  the  shaped  piece  are  shown  in  Fig.  13, 
in  which  a  is  the  flap,  and  b  the  shaped  piece. 
The  latter  is  hinged  on  to  the  bottom  board. 
The  loose  end  of  the  flap  is  guided  by  the  two 
brackets  shown  in  Fig.  8,  and  it  comes  exactly 
under  the  bottom  board  of  the  top  carcass.  The 
flap,  etc.,  might  be  \  or  1  inch  thick.  A  handle 
(Fig.  15)  on  the  shaped  piece  will  catch  behind 
a  slot  in  the  main  carcass  front  board,  and  will 
also  secure  the  flap.  To  prevent  the  flap  coming 
right  out,  have  an  iron  peg  in  the  thickness  of 
each  end ;  and  it  is  to  allow  these  to  be  put  in 
that  I  said,  leave  the  triangular  pieces  until  last. 


A.  POCKET  MUSIC  STAND  OR 
BOOK  REST. 

By  F.  E.  TREBLA. 


Drawings  or  Diagrams  for  Lantern  use 
without  the  Aid  of  Photography. — Take  thin 
transparent  sheet  zylonite  or  celluloid  and  wash 
with  water.  "When  dry  rub  with  fine  whitening, 
to  remove  all  grease.  Drawings  or  writing  can 
now  be  placed  on  the  zylonite  as  easily  as  on  paper, 
and  tracings  made.  Clamp  the  finished  work  be- 
tween two  glasses,  and  bind  the  edge  with  paper. 


HE  pocket  music  stand  which  is 
described  in  this  paper,  is  an  admir- 
able contrivance  for  the  purpose,  and 
displays  great  ingenuity  and  inventive  talent  on 
the  part  of  the  designer.  It  is  so  arranged  that 
the  whole  of  it  folds  up  and  fits  into  the  base, 
so  that  it  may  be  carried  in  the  pocket  without 
inconvenience.  Great  attention  must  be  paid 
to  the  dimensions  given  in  each  case,  otherwise 
the  stand  will  not  fold  up  compactly.  In  Fig.  1, 
b  is  the  base,  and  is  made  in  two  parts,  each 
part  being  9  inches  long  and  of  peculiar  shape. 
It  is  shown  enlarged  in  Fig.  3,  where  also  full 
dimensions  are  given.  Those  who  possess  a 
rabbetting  plane  may  shape  it  to  the  inside 
dimensions  given,  out  of  a  solid  piece  of  wood 
9  by  1J  by  f  inches,  otherwise  it  should  be 
built  up,  and  a  thin  moulding  glued  on  in 
front.  The  two  interior  ends  of  b  b  (Fig.  1) 
should  be  rounded  in  order  to  allow  of  their 
being  folded  over  on  the  pivots,  as  shown.  At 
m  (Fig.  3),  a  socket  is  cut  with  a  chisel  half 
through  the  base,  and  is  for  the  purpose  of 
receiving  the  end  of  the  strip  of  wood  next 
described.  It  should  be  carefully  done,  so  that 
the  fit  may  be  somewhat  tight,  as  this  tends  to 
keep  the  rest  rigid.  Next,  six  strips  of  wood 
will  be  required,  each  9  by  £  by  full  £  inches. 
Four  of  these  must  be  rounded  at  one  end,  and 
the  other  two  rounded  at  both  ends.  "When 
they  have  been  planed  and  sandpapered,  take 
one  which  has  been  rounded  at  both  ends,  and 
two  which  are  rounded  at  one  end  only,  place 
all  the  rounded  ends  together,  the  doubly 
rounded  one  being  underneath,  and  screw  them 
together  at  the  end  with  a  thin  brass  screw, 
countersinking  the  head,  and  not  letting  the 
point  be  seen  on  the  other  side.  Do  the  same 
to  the  other  three  pieces  of  wood,  and  lay  them 
on  one  side.  The  next  step  to  be  taken  is  to 
make  the  backbone,  a,  shown  enlarged  in  Fig.  4. 
The  dimensions  of  this  are  9  by  1  by  J  inches, 
and  it  must  have  a  piece  cut  out  of  the  middle 
with  a  fretsaw,  6i  by  £  inches,  commencing  1} 


A   POCKET  MUSIC  STAND    OR  BOOK  REST. 


203 


inches  from  the  top.  The  bottom  corners 
should  then  be  rounded,  as  shown  in  Fig.  4. 
Then  plane  up  a  thin  piece  of  wood,  d,  6£  by  \ 
by  -J  inches,  pointing  it  as  in  the  sketch,  and 
another  piece,  p,  6£  by  J  by  £  inches.  This 
latter  piece  should  have  several  holes  at  intervals 


of  good  thickness.  In  screwing  any  parts 
together,  the  heads  of  all  the  screws  must  be 
countersunk,  so  as  not  to  come  above  the  level 
of  the  wood.  All  that  is  now  required  is  to 
screw  the  other  end  of  the  doubly-rounded  strips 
of  wood  to  the  top  of  the  backbone  ;  and  if  the 


fig  2 


A 

A 


o 
o 

•      ° 

o 

V  1 


^ 

9- 

X 

I I 

M 

B 

Sr 

Fl  C.3. 


FIG.*. 


«-i  ;> 


FIG.  5 


of  1  inch,  bored  half  through  it,  in  which  the 
point  of  D  can  rest.  The  pieces,  d  and  f,  should 
now  be  placed  inside  the  backbone  a,  f  being 
behind  d,  and  pivotted  (d  at  the  top  and  f  at 
the  bottom)  with  those  long  wire  pins  used  by 
cabinet  makers  ;  and  as  each  piece  is  ^  inch  thick, 
they  will,  when  folded  up,  come  flush  with  the 
surface  of  a.  The  next  thing  to  be  done  is  to 
fasten  each  half  of  the  base  to  the  bottom  of  the 
backbone.     This  is  done  by  short  brass  screws 


fitting  has  been  done  with  care,  there  will  be 
no  difficulty  in  folding  them  inside  the  base. 
The  numbered  arrows  in  Fig.  1  show  how  this 
is  done.  1st.  The  middle  bars  are  folded  over 
the  horizontal  ones.  2nd.  The  upright  bars  are 
slipped  out  of  their  sockets,  and  placed  over  the 
other  two.  3rd.  The  three  bars  are  brought 
down  over  the  backbone  till  they  are  held  by 
the  moulding  in  front  of  the  base.  4th.  The 
two  halves  of  the  base  are  folded  up  over  all, 


204 


AMATEUR    WORK"   PRIZE   SCHEME. 


and  the  stand  becomes  as  in  Fig.  5,  ready  to  be 
put  in  the  pocket.  To  anyone  who  has  never 
seen  one,  this  description  may  seem  rather 
abstruse,  and  the  apparatus  complicated,  but  a 
few  minutes'  study  of  the  designs  will  soon  make 
the  working  of  it  clear  ;  and  I  have  endeavoured 
by  means  of  the  arrows,  which  are  numbered  in 
their  order,  to  make  the  working  of  it  as  simple 
as  possible.  It  may  be  made  of  walnut,  which 
will  look  very  well  if  it  is  French  polished,  or 
any  other  wood  that  takes  a  good  polish.  The 
one  now  in  front  of  the  writer  is  made  of  some 
foreign  scented  wood,  which  scents  the  hands 
every  time  it  is  touched.  If  any  dimensions  or 
particulars  are  not  quite  plain  enough  to  any 
reader,  I  shall  be  happy  to  answer  any  com- 
munications in  the  "Council"  columns. 


AMATEUR    WORK 

PRIZE    SCHEME. 


Picture  Framing. — A  very  large  percentage 
of  the  pictures  used  to  decorate  our  walls  is 
ruined  by  the  framing.  "Why  this  should  be  so, 
requires  a  power  of  analysis  and  nice  discrimi- 
nation few  of  us  have  time  or  ability  to  exert. 
At  an  army  post,  with  its  meagre  resources,  one 
does  not  expect  to  find  everything  comme  il  faut, 
but  a  parlour  was  furnished  on  the  frontier  that 
in  many  respects  might  serve  as  a  model  for  more 
ambitious  surroundings.  The  pictures  especially 
attracted  attention  as  something  very  superior, 
but  a  closer  inspection  showed  that,  though 
carefully  chosen,  much  of  the  beauty  was  due  to 
the  appropriateness  of  the  settings.  The  etchings 
were  enclosed  by  a  mat  3  to  5  inches  in  width, 
beyond  which  was  a  strip  of  oak  about  1  inch 
wide,  not  varnished,  but  polished.  If  the  etching 
and  mat  made  a  picture,  say,  li  feet  long,  the 
frame  was  2  inches  wide,  with  a  very  narrow 
gilt  strip  next  the  mat.  A  picture  blue  in  tone 
had  a  darker  blue  mat  and  a  very  narrow  white 
frame  with  a  bit  of  gilt  beading.  A  fruit  piece 
with  black  background  was  very  handsome 
without  a  mat,  but  with  a  dark,  old-oak  frame, 
flat,  and  fully  4  inches  in  width.  A  black  and 
gilt  beading  ornamented  the  outer  edge.  Small 
water  colours  were  framed  in  the  same  manner 
as  the  etchings,  and  were  equally  effective  ;  while 
two  photographs,  larger  than  cabinet  size,  were 
simply  framed  in  a  2-inch  board,  covered  with 
deep  crimson  velvet. —  Good  Housekeeping ,  U.S.A. 


VIII.  A  PRIZE  OF  ONE  GUINEA  will  be  given  for 
the  best  specimen  of  REPOUSSE  WORK  IN 
BRASS. 

IX.  A  PRIZE  OF  ONE   GUINEA  will  be  given  for 

the  best  specimen  of  AMATEUR   PRINTING. 

X.  A    PRIZE  OF  ONE   GUINEA  will  be  given  for 

the  THREE  BEST  SUGGESTIONS  FOR 
HOME  DECORATION  that  may  be  carried  out 
by  an  amateur  mechanic. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  MS.  must  be  written  on  one  side  only  of  the  paper, 
and  drawings  must  be  on  separate  paper.  Each 
sheet  of  MS.  or  drawings  to  have  the  name  and 
address  of  the  competitor  clearly  written  on  the 
back.  The  Publishers  reserve  the  right  to  publish 
any  MS. 

(3).  All  articles  in  this  competition  must  be  received  not 
later  than  March  27th,  carriage  paid,  and  addressed 
— The  Editor  of  Amateur  Work,  Warwick  House, 
Salisbury  Squake,  London,  E.C. 

(4).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(5).  Competitors  desiring  the  return  of  their  articles 
(except  MS.)  must  enclose  an  addressed  label.  If 
the  article  is  to  be  returned  by  parcel  post,  the 
label  must  be  fully  stamped  ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 

(6).  The  decision  of  the  Editor  shall  be  final. 


RESULTS  OF  COMPETITIONS. 

IV.  AND  V. 

IV. — A  Prize   op   Two   Guineas  por  the  best  written 

PAl'EK     DESCRIBING     FlTUENTS     POR    EOOMS. 1     must 

confess  that  I  am  disappointed  with  the  result  of 
this  competition.  I  expected  that  readers  of 
Amateur  Work  would  be  rich  in  ideas  and 
suggestions  upon  this  subject,  and  that  we  should 
have  a  lot  of  novel  and  useful  hints  ;  but,  alas !  for 
the  vanity  of  human  expectations,  two  competitors 
only  entered  the  lists,  and  Mr.  Wm.  Priday, 
Wilmslow  Eoad,  Withington,  Manchester,  takes 
the  prize  with  an  excellent  paper,  which  will  be 
published  in  due  course. 


NOTES   ON  NOVELTIES. 


205 


T. — A  Pkize  ..f  One  Guinea  for  the  Best  Lantern 
Slide  from  Competitor's  own  Negative.  —  To 
make  amends  for  the  want  of  interest  in  the  last 
competition,  the  quantity  and  quality  of  the  slides 
sent  in  for  this  competition  were  somewhat  embarrass- 
ing, and  rendered  the  work  of  judging  no  easy  task. 
Every  slide  was  put  through  the  lantern,  some  of 
them  more  than  once,  and  the  award  has  fallen  to 
Mr.  W.  Kitchen,  101,  Bute  Road,  Cardiff,  who 
sends  in  a  set  of  three  slides: — (1).  "  The  Tillage 
Smithy,"  situated  in  the  village  of  Selworthy, 
Somerset.  Negative  on  7J  by  5  Ilford  plate ; 
lantern  slide  reduced  in  camera  on  Cowan's  bromide 
plate.  This  slide  (for  which  the  prize  is  awarded) 
has  all  the  characteristics  which,  according  to  Mr. 
Andrew  Pringle,  are  necessary  in  a  good  slide,  viz., 
clear  highest  lights — secondary  lights  well  furnished 
with  detail — middle  tones  —  transparent  shadow 
details — a  good  general  colour  of  image.  The 
other  two  slides  in  this  set  were  (2)  "  Five  Lions 
from  Wombwell's  "  and  (3)  "  Leopard  from  Womb- 
well's."  Speaking  of  (2)  and  (3),  Mr.  Kitchen 
says :  "  These  were  time  exposures  owing  to  dull  light. 
and  were  only  secured  after  an  enormous  amount 
of  time  and  patience  had  been  expended,  owing  to 
their  restlessness.  Over  forty  plates  were  exposed 
only  about  six  proving  good  negatives,  the  rest 
spoilt  through  movement." 

Following  very  closing  on  "  The  Village  Smithy," 
comes  a  slide  by  Mr.  A.  A.  Moncrieff,  145,  High 
Street,  Portsmouth,  entitled  "A  Frosty  Corner." 
In  fact,  so  good  is  it,  that  I  have  decided  to  award 
an  extra  prize  of  half  a  guinea  in  this  case.  It  is 
printed  by  contact  on  Thomas'  lantern  plate, 
developed  with  hydroquinone  sodium  hydrate. 
Mr.  L.  Egberts  had  a  set  of  three  Swiss  scenes 
that  deserve  high  praise.  The  slides  sent  by  Mr. 
J.  Winterbottom  and  Mr.  F.  West,  also  deserve 
honourable  mention. 


NOTES  ON  NOVELTIES. 

JJy   TDE  EDITOR. 


can  be  said  of  any  I  have  hitherto  Been.  They  are  made 
in  two  shapes,  flat  and  semi-spherical,  the  price  of  either 
kind  being  Is. 

The  drilling  attachment  for  slide-rest  is  so  clearly  shown 
in  the  illustration  that  further  description  would  be  super- 
fluous. I  need  only  add  that  at  the  price  asked,  viz., 
12s.  6d.,  I  consider  it  a  remarkably  cheap  piece  of  apparatus. 
There  is  one  special  advantage  in  the  possession  of  such  a 
tool,  and  that  is  that  hardened  lathe  centres  may  be  rapidly 
ground  true  by  means  of  a  small  emery  wheel  held  on  by 
the  nut. 


NON-LEAKING 
POCKET  OIL  CANS. 


NGINEEBS'  TOOLS. —  Mr.  J.  E.  Leeson, 
Engineer  and  Scientific  Instrument  Maker, 
Chapel  Street,  Levenshulme,  Manchetter,  has  sent 
me  specimens  of  his  non-leaking  pocket  oil- 
cans, adjustable  wrenches  for  screw-taps,  and  a  drilling 
attachment  for  slide-rest.  Having  given  them  a  fair  test, 
I  can  with  confidence  recommend  each  and  all  of  them  to 
readers  of  Amateur  "Work  as  cheap  and  reliable  tools.  The 
oil-cans  fill  a  long-felt  want.  In  the  ordinary  kind  of  pocket 
oil-can  the  screw  top,  when  it  did  not  leak,  was  always  liable 
to  be  mislaid,  but  in  the  improved  form  introduced  by 
Mr.  Leeson,  there  are  no  loose  parts,  and  the  method  by 
which  the  oil  is  retained  is  perfect.  They  can,  in  fact,  be 
carried  in  the  pocket  with  perfect  safety,  which  is  more  than 


CLOSED. 


I     jfjvfi=riTt»a=fcaL 


ADIUSTABlE   WRENCHES   FOR    SCREW   TAPS,    ETC. 


DRILLING  ATTACHMENT   FOR   SLIDE-REST. 

The  tap  wrenches  are  useful,  not  only  for  firmly  holding 
taps,  but  also  as  the  means  of  making  a  good  rymer  from  a 
piece  of  square  steel  rod,  by  gripping  the  end  in  one  of  the 
wrenches.  The  price  of  a  medium  sized  tap  wrench  is 
3s.  6d.,  and  small  size  2s.  6d. 

Mr.  Leeson  also  states  that  he  will  be  pleased  to  quote 
amateurs  specially  low  prices  for  the  execution  of  any  work, 
either  in  part  or  in  full. 

The  Photographic  Art  Journal  for  January  24th  has  an 
interesting  and  instructive  paper  by  Mr.  Walter  E.  Wood- 
bury, entitled  "Notes  on  a  Simple  Positive  Transfer 
Process."  All  who  are  interested  in  Mr.  Bennett's  papers 
— "Hints  on  Decorating  the  House  by  Photography'' — 
should  read  the  article  referred  to. 

VOL.  III.  (N.S.) — E 


206 


AMATEURS  IN  COUNCIL. 


AMATEURS  IN  COUNCIL. 


OPEN    TO    AL,Tj   READERS. 


Suggestions  for  Amateur  Work. 
A  Reader  of  "  A.  W." — -Your  letter, 
which  came  to  hand  too  late  for  me  to 
do  more  than  acknowledge  last  month, 
is  very  interesting,  inasmuch  as  it  shows 
me  that  you  are  making  the  most  of 
your  opportunities;  and  I  venture  to 
predict  that  some  day  you  will  make 
your  mark.  I  quite  appreciate  your 
desire  to  have  all  articles  in  Amateur 
Work  so  fully  and  clearly  written  that 
even  "  dunderheads  "  (to  use  your  own 
expression)  shall  be  able  to  work  from 
them  ;  at  the  same  time,  it  would  involve 
a  great  deal  of  reiteration  if  every 
detail  was  minutely  described  on  each 
occasion ;  for  instance,  if  every  writer 
who  mentioned  a  mortise  and  tenon 
joint,  wrote  a  minute  description  of  the 
method  of  making  such  joint ;  or  if  a 
full  description  of  French  polishing 
was  given  whenever  that  process  was 
recommended,  you  can,  perhaps,  imagine 
the  dreary  pages  of  uninteresting  matter 
that  I  should  have  to  serve  up  for 
thousands  of  indignant  readers.  The 
ABC  of  the  wrk  is  more  easily  and 
readily  learnt  from  such  a  work  as 
"Every  Man  his  Owh  Mechanic."  If 
you  do  not  already  possess  this  book,  I 
should  recommend  you  to  get  it,  as  it 
explains  all  you  can  want  to  know  of 
these  detail  matters.  Your  second 
suggestion,  that  a  small  fee  should  be 
charged  for  sending  answers  to  queries 
by  post,  is  against  the  principles  of 
Amateur  Work,  which  is  to  give  all 
possible  assistance  to  amateurs  free  of 
charge,  beyond  the  nominal  cost  of 
subscribing  to  the  magazine.  It  would 
be  rather  "  a  large  order "  to  answer 
all  enquiries  by  post;  but  in  urgent 
cases,  and  where  a  stamped  envelope  is 
enclosed  for  reply,  I  am  always  willing 
to  oblige,  and  as  a  matter  of  fact,  a 
good  many  questions  that  are  not  of 
general  interest  are  so  answered.  Your 
third  suggestion  is  already  in  train  for 
the  next  volume,  when  I  hope  to  have 
some  papers  on  household  sanitary 
matters  from  an  Associate  of  the 
Sauitary  Institute.  Your  request  for 
a  handy  tool  cabinet  shall  have  atten- 
tion. 


Battery  Wanted. 

E.  Attwood  (page  155). — You  can 
use  a  chromic  acid  battery  with  two 
carbon  and  one  zinc  plates.  The  solution 
is  —chromic  acid,  3  ounces  ;  water,  16 
ounces  ;  sulphuric  acid,  4  ounces.  Add 
the  sulphuric  acid  in  a  thin  stream. 
You  do  not  eay  the  size  of  the  com- 
partments, but  assuming  that  they  are 
3  inches  wide  and  3  inches  deep,  put  in 
two  glass  cells,  cut  from  the  lower  part 
of  a  12-oz.  medicine  bottle  (see  page 
336,  Vol.  II.,  New  Series,  for  method 
of  cutting)  4  inches  high,  allowing  1 
inch  above  the  deck ;  the  carbon  plates 
can  be  4J  inches  by  2J  inches,  and  J 
inch  thick.  Zinc  same  size  J  inch 
thick  ;  fix  thin  pieces  of  dry  wood, 
soaked  in  paraffin  wax,  between  carbons 
and  zinc;  connect  carbons  by  a  clamp 
of  thin  sheet-brass;  solder  wires  to  zinc 
and  brass  clamp,  to  save  weight  of 
binding  screws ;  connect  the  batteries 
zinc  to  carbon  and  one  zinc,  and  one 
carbon  to  motor.  It  would  be  advisable 
to  drive  screw  with  cog-wheels — a  small 
one  on  motor,  and  a  larger  on  screw- 
shaft.  If  you  have  not  got  motor,  I 
can  recommend  Mr.  G.  Bowron,  Elec- 
trician, 93,  Praed  Street,  London,  W., 
who  will  supply  you  at  a  very  reason- 
able rate. — Electron. 

Printing  and  Rubber-Stamp  Making. 
Ellis  and  Co.  (Ladybrand,  Orange 
Free  State,  South  Africa)  write  so 
feelingly  in  appreciation  of  our  efforts 
to  convey  an  unbiassed  opinion  of  tools 
or  materials  offered  to  amateurs,  that 
we  repress  our  native  modesty  on  this 
occasion,  and  publish  a  portion  of  their 
letter,  more  especially  as  it  concerns 
firms  in  whom  amateurs  may  place 
entire  confidence.  They  say: — "We 
are  in  possession  of  a  '  model  printing 
press '  obtained  through  your  mention 
of  the  Model  Printing  Press  Co., 
and  we  cannot  do  otherwise  than  ac- 
knowledge your  useful  aid  to  informa- 
tion, at  the  same  time  giving  great 
credit  to  the  above-named  firm ;  and 
must  say  that  if  all  firms  mentioned  in 
Amateur  Work  are  as  respectable  and 
trustworthy  as  the  '  Model  Press  Com- 
pany '  and  the  Britannia  Company  (of 
whom  we  should  have  known  nothing 
were  it  not  for  Amateur  Work, 
Illustrated),  and  give  such  good  value 
for  money,  none  need  be  afraid  to  place 
tbeir  money  in  their  hands,  and  rest 


assured  they  will  not  be  disappointed. 
The  No.  2  'Model  Printing  Press'  is 
really  an  astonishing  machine,  so  com- 
plete yet  simple.  That  you  may  judge 
for  yourself,  we  send  a  specimen  of  out- 
work, and  think'you  will  have  to  con- 
fess that,  as  a  first  trial,  it  speaks  well 
for  the  '  Model,'  especially  as  we  had  . 
no  previous  knowledge  of  printing  ;  and 
it  would  gratify  us  if  our  experience 
could  be  made  known  extensively  for 
the  benefit  of  brother  amateurs.  The 
experience  named  above  led  us  naturally 
to  'go  in '  for  other  things  men- 
tioned by  you ;  but  we  must  say  we 
were  rather  disappointed  in  one  in- 
stance, as  we  failed  to  receive  an  answer 
to  our  letter  to  the  rubber-stamp 
manufacturers,  H.  Martin  and  Co., 
Cork.  Having  read  the  method  of 
rubber-stamp  making  described  in 
Amateur  Work,  we  concluded  it  would 
be  a  valnable  addition  to  our  extensive 
business  if  we  could  manufacture 
rubber-stamps  here,  and  we  accordingly 
wrote  for  prices  of  outfits,  but  unfor- 
tunately received  no  answer.  Could 
you  kindly  give  us  the  information 
required,  or  through  your  influence 
obtain  it  from  the  manufacturers  them- 
selves ?  We  shall  send  them  an  order 
at  once  on  receipt  of  their  favour. 
We  are  ordering  some  more  type 
from  the  Model  Printing  Press  Com- 
pany shortly,  and  shall  order  some 
specially  for  rubber  stamp-making." 

Many  enquiries  have  been  made 
respecting  the  firm  you  mention  as- 
supplying  outfits  for  rubber-stamp 
making,  but  they  have  disappeared 
from  the  address  given.  No  doubt 
Mr.  M.  Linder,  170,  Fleet  Street, 
London,  E.C.,  would  be  able  to  supply 
you. 

Photographic  Camera. 

"A  New  Reader." — I  have  some 
papers  in  preparation  on  the  construc- 
tion of  hand  cameras.  I  should  advise 
you  to  try  your  skill  on  the  construction 
of  one  of  these  instruments.  The  articles 
shall  appear  as  early  as  possible. 

Telescopic  Dining  Table. 
Colonel  Faker  (Calcutta).  —  There 
is  no  reason  why  an  amateur  should  not 
be  able  to  make  a  very  satisfactory  tele- 
scopic dining-table, and  your  request  for 
a  paper  has  been  handed  to  one  of  my 
staff,  who  has  a  practical  knowledge  of 
the  subject. 


AMATEURS  IN  COUNCIL. 


207 


Repairing  Brass  Instruments. 

H.  A.  L. — I  do  not  know  where  you 
can  procure  tools  for  repairing  band 
instruments.  I  believe  the  makers  get 
them  made  by  tool  makers  to  their  own 
designs,  to  suit  their  own  make  of 
instrument.  I  do  a  little  in  the  way 
of  repairing  myself,  but  manage  with 
the  ordiuary  tinman's  tools,  and  a  few 
pieces  of  rod-irun  about  the  size  of  the 
tubing.  The  dents  in  the  bell  and 
larger  tubes  of  the  instruments  are 
fairly  easy  to  take  out  on  beck-irons, 
etc.,  using  a  bright-faced  hammer,  and 
tapping  very  gently.  Many  bruises  can 
be  pressed  out  with  a  piece  of  rod-iron 
fixed  in  the  vice  ;  but  let  all  pieces  of 
rod-iron  that  you  put  down  the  tube9  be 
quite  rounded  at  the  ends,  and  quite 
smooth,  or  they  will  mark  the  instru- 
ment worse  than  the  bruises. 

You  ask  for  the  best  blow-pipe  to 
use  forgetting  joints  apart  You  cannot 
have  a  better  than  that  described,  I 
tbiuk,  in  Part  2  (New  Series),  Amateur 
Work  ;  that  i9,  if  you  hare  gas. 
If  not,  the  Paqueter  blow-lamp,  which 
uses  benzolioe,  and  is  self-acting,  will 
do  first-rate.  It  is  a  capital  lamp  for  any 
blow-pipework.  You  would,  of  course, 
use  a  blow-pipe  to  fan  the  parts  again, 
and  the  polishing  would  be  done  by 
means  of  emery  cloth,  crocus  powder, 
and  rottenstone  and  oil ;  finally  polish- 
ing with  dry  rottenstone. — L.  L. 

Utilising  Sewing  Machine  Stand. 

"A  Reader  of  A.W."  (page  155). — 
You  can  fix  a  lathe  with  2£-inch 
centres  on  the  stand  ;  the  castings  will 
cost  about  10s.,  iron  bed  6s. ;  or  you 
could  make  an  oak  bed  with  iron  plates 
on  the  top.  By  advertising,  you  might 
get  a  second-hand  lathe  cheap  ;  look  in 
the  Bazaar  under  "  Mechanics."  After 
you  get  the  lathe,  turn  a  spindle  6  or  8 
inches  long,  and  fix  on  it  a  4-inch  saw, 
by  a  nut  and  washer,  with  a  carrier  on 
the  end  of  spindle  for  driving  saw  be- 
tween lathe  centres.  The  table  can  be 
wood,  with  an  iron  prong  to  fit  into  the 
rest  socket.  I  am  afraid  the  wheel  will 
be  too  light  for  sawing,  but  you  could 
put  a  heavier  fly-wheel  on  the  opposite 
end  of  the  sbaft.  Fix  a  4-ineh  grind- 
stone on  a  spindle  with  nut  and  washer, 
and  carrier  for  driving  similar  to  saw. 
The  fret-saw  frame  could  be  fixed  in 
a  rest-socket,  and  driven  by  an  eccen- 
tric between  the   lathe   centres,   using 


the  saw-table.  I  had  a  fret-saw  fitted 
to  my  lathe  in  this  manner,  and  it, 
worked  well.  I  cannot  give  you  more 
particulars  without  drawings  ;  but  i  f  our 
Editor  think  they  would  be  of  interest, 
I  could  send  an  article  and  draw- 
ings.— Electron. 

"H.  C."  writes: — "I  was  much  in- 
terested by  the  enquiry  of  one  of  the 
readers  of  Amateur  Work,  concerning 
the  use  of  old  sewing  machine  stands,  as 
I  am  now  converting  one  into  use  for 
grindstone,  polishing  wheels,  etc.,  and 
should  be  glad  myself  with  a  few  useful 
hints.  It  certainly  makes  a  very  cheap 
piece  of  machinery  when  converted,  as 
they  can  often  be  had  for  a  few 
shillings.  I  purchased  three  in  one  lot 
at  Ss.  each,  all  complete  with  stands, 
treadle,  etc.,  in  good  working  order. 
I  am  converting  one  into  use,  and  can 
see  many  uses  for  the  others.  Any  of 
your  readers  having  use  for  one  can 
have  one  of  mine  at  cost  price,  8s. 
I  take  this  opportunity  of  thanking 
you  for  the  many  valuable  hints  I  have 
received  through  your  valuable  work — 
Amateur  Work — and  as  I  am  an 
amateur  at  many  arts,  I  have  found  it 
most  useful ;  indeed,  I  think  that 
without  advice  from  Amateur  Work — 
some  of  my  experiments  would  have 
been  a  failure.  I  hope  shortly  to  be 
able  to  relate  some  of  my  experiences, 
for  the  benefit  of  your  readers." 

[We  shall  be  glad  to  hear  from 
you. — En.] 

Copying  Fretwork  Designs. 
N.  D.  La  Touciie  (India)  writes  : — 
"I  give  the  following  method  of 
copying  fretwork  designs,  as  I  have 
often  seen  enquiries  about  this,  and  do 
not  think  it  is  generally  known : — 
Cut  the  design  carefully  out,  and 
paste  it  into  a  book  ;  it  will  then  give 
the  pattern  in  relief.  When  copying, 
lay  a  piece  of  thin  paper  over  the 
design,  and  rub  with  heelball  (which 
can  be  got  at  any  saddler's) ;  the  raised 
parts  cause  the  paper  to  be  blackened, 
while  the  recesses  will  not  'take'  the 
black.  Any  number  of  copies  can  thus 
be  taken.  If  the  pattern  is  on  very 
thin  paper,  it  can  be  pasted  on  a  thick 
piece  to  give  more  relief  before  cutting 
out,  but  very  little  i3  wanted.  The 
above  is  not  my  own  invention, 
but  a  very  useful  one  for  all  that. 
Your    Magazine    is    very    useful    out 


here,  especially  the  articles  on  furniture, 
though  I  have  not  had  time  to  make 
any  myself.  I  have  heard  of  a  sub- 
scriber getting  a  sharp  '  bathai,'  or 
native  carpenter,  to  make  from  the 
designs,  and  getting  quite  a  profit  at 
the  celling  off,  which  is  usual  out  here 
on  being  transferred,  which  occurs  about 
every  three  years. " 

Model  Steam  Yacht. 
Sidney  Burton  (Dulwch,  S.E.) 
writes  : — "  Could  any  of  your  readers 
give  me,  through  your  valuable  paper, 
plaus  for  building  a  model  of  a  screw 
steamer  about  3  feet  long  ;  or,  if  you 
think  it  would  use  up  too  much  room 
in  your  paper,  I  should  be  glad  if  he 
would  offer  his  address,  so  that  I  could 
correspond  with  him  myself.  I  should 
say  I  have  plans  for  the  engines,  so 
should  not  require  these." 

Hydraulic  Motor. 

".  Blaney  "  writes : — "  I  shall  be  very 
thankful  for  any  help  in  the  following 
difficulty :  —  I  made  an  hydraulic 
motor,  some  years  ago,  from  instructs  >ns 
given  by  '  Cato,'  in  Part  34,  September, 
1884,  following  carefully  the  plans 
described,  but  could  never  get  it  to 
work  properly.  It  literally  churned 
the  water,  which  could  not  escape, 
though  I  made  a  larger  opening  than 
'  Cato '  recommended,  and  so  it  has 
remained  ever  since.  I  am  told  it  ought 
to  work,  and  have  again  returned  to  it ; 
and  will  be  much  obliged  to  any 
reader  who  will  help  me  to  remedy  the 
defect. " 

"Demon"  Cameras. 
"  Would-be  Amateur  "  writes :  — 
"  Can  any  kind  reader  of  Amatet/r  Work 
assist  me  with  any  hints  as  to  using  one 
of  the  Demon  Instantaneous  Detective 
Cameras,  No.  1  size.  I  have  made 
several  exposures,  but  cannot  succeed 
in  developing  one  plate.  I  should 
be  pleased  to  correspond  privately  with 
anyone  having  had  experience  with 
the  *  Demon,'  and  to  whom  I  would 
Btate  the  case." 

"  Would-be  Amateur  "  had  better 
take  his  Demon  Detective  Camera  to 
the  nearest  smithy,  and  having  de- 
posited it  on  the  anvil,  induce  the 
strongest  of  the  smiths  to  smash  it 
with  the  heaviest  sledge-hammer.  — 
A.  A.  H. 


208 


AMATEURS  IN  COUNCIL. 


Defective  Battery  Cell 
Geo.  W.  Pither. — The  fact  that  the 
zinc  haB  wasted  so  much  during  the 
first  week  of  your  new  Leclanche  cell, 
would  lead  to  the  conclusion  that  the 
circuit  must  have  been  completing  it- 
self, because  in  cells  with  saline  solu- 
tions there  is  little  waste  of  zinc  in  open 
circuit,  even  though  the  zinc  is  not 
amalgamated.  This  completion  of 
circuit  may  have  been  caused  by  the 
zinc  having  remained  in  contact  with 
the  porous  pot,  or  it  may  have  occurred 
outside  the  cell  by  the  wires  touching 
each  other  at  a  point  where  the  in- 
sulation is  defective,  or  where,  without 
actually  touching,  there  is  damp  on  the 
walls  or  wherever  the  wires  are  fixed. 
Take  this  as  one  likely  cause  of  the 
failure.  Another  cause  may  have  been 
the  employment  of  too  strong  a  solution 
of  sal-ammoniac;  but  I  do  not  think 
this  would  explain  the  waste  of  zinc, 
which  you  say  has  been  "very  much 
indeed.''  With  regard  to  the  porous 
cell  being  the  seat  of  the  fault,  it  is  not 
improbable,  because  inferior  porous 
cells  are  quite  common.  Their  great 
defect  is  tbe  want  of  peroxide  of  man- 
ganese, which  should  be  almost  equal 
in  quantity  to  the  crushed  carbon  ;  if 
tbe  full  quantity  is  not  there,  the  life 
of  the  cell  is  not  long.  Should  this  be 
the  fault  in  your  case,  it  may  explain 
the  feebleness  of  current  after  a  week's 
work  ;  but  the  excessive  waste  of  zinc 
can  only  be  explained  by  a  completed 
circuit  somewhere. — A.  T. 

American  Clock. 
P.  Bennett. — Is  it  an  eight-day  or 
thirty-five  hour?  lever  or  pendulum? 
strike  or  timepiece  ?  weight  or  spring  ? 
As  in  each  case  a  different  treatment 
mav  be  required,  and  it  is  impossible  to 
say  from  the  question  put,  as  it  is  so 
vague  ;  also,  is  it  a  new  or  old  clock  ? 
— Vita. 

How  to  Make  a  Phonograph. 
J.  Kyse. — Full  instructions  ap- 
peared in  Vol.  VII.  (Old  Series),  page 
363,  and  illustrations  were  given  in  a 
folding  sheet.  The  microphone  papers 
have  not  yet  come  to  hand,  but  "  all 
things  come  to  him  who  waits  ";  and 
one  of  the  things  will  be  an  article  on 
the  construction  of  a  microphone.  No 
need  to  apologise  for  asking  questions. 
I  am  always  pleased  to  hear  from  my 
readers  at  any  time,  and  to  assist  them 
as  far  as  I  can. 


Machine  for  Shaping  and  Guttering 
Leads  for  Stained  Glass  Windows. 
Caunota. — Try  Messrs.  Rhodes  and 
Sons,  Grove  Iron  Works,  Wakefield, 
Yorkshire.  If  they  do  not  keep  such  a 
machine,  there  is  no  doubt  but  that  they 
would  be  able  to  make  you  one.  They 
are  about  the  best  firm  in  England  for 
tools  and  machines. — L.  L. 

Composition  of  Celluloid. 
J.  A.  (Crewe),  page  10+. — This  is 
composed  of  gun-cotton,  treated  with 
nitro-sulphuric  acid,  which  renders  it 
soluble  in  various  chemical  agents, 
such  as  alcohol  and  other  hydrocarbons, 
and  with  or  without  camphor  oils,  and 
in  some  cases  gums  and  resins.  Tbe 
details  of  manufacture  vary  according 
to  the  purpose  to  which  it  is  applied. 
It  can  be  made  either  hard  or  flexible, 
or  can  be  made  plastic  or  liquid ;  it 
can  be  made  water-proof,  acid-proof, 
and  non-inflammable.  Tbe  manufacture 
is  a  patented  process,  and  is  not  made 
known.-  —Electron. 

Phonograph. 
"  C.  H.  0."  has  made  a  phonograph 
from  the  instructions  which  have  ap- 
peared in  Amateur  Work,  but  has 
experienced  a  difficulty  in  procuring 
tinfoil  of  the  requisite  thickness. 
Writing  from  Halifax,  it  seems  to  me 
that  he  ought  to  be  able  to  get  what  he 
wants.  What  he  has  is  ''so  very  thin, 
that  as  soon  as  the  needle  touches  it,  it 
tears."  Is  the  style  or  "  needle ''  too 
sharp,  or  is  the  foil  laid  on  perfectly 
tight  and  smooth  ?  I  cannot  see,  if 
tbe  point  of  the  style  is  perfectly  free 
from  roughness,  why  it  should  tear. 
If,  however,  the  fault  is  in  the  foil,  if 
"  C.  H.  C."  will  send  to  Messrs.  Lancas- 
ter, Colmore  Road,  Birmingham,  or  Mr. 
Caplatze,  Science  Depot,  Chenies  Street, 
London,  he  will  be  able  to  get  what  he 
requires,  stating  what  the  foil  is  for  ; 
at  any  rate,  I  have  had  some  from  the 
latter  place.  Had  I  "  C.  H.  C.'s  "  address, 
I  would  gladly  send  him  a  scrap  which 
has  been  used,  so  that  he.  might  see  the 
kind.  "  C.  H.  0."  further  says,  "  I  have 
tried  covering  tbe  cylinder  with  wax, 
but  am  afraid  I  have  not  got  the  right 
sort  of  wax — it  seems  too  soft.  Can  you 
tell  me  what  kind  of  wax  would  be 
best."  I  can  only  say,  in  reply,  that  wax 
is  not  used  with  a  brass  cylinder ;  it  is  a 
distinct  arrangement  about  which  I  can 
give  no  reliable  information  at  present. 
— O.  B. 


Violin  Making. 
J.  E. — You  will  find  full  instructions 
for  violin  making  contained  in  a  series 
of  articles  entitled  "  Violin  Making,  as 
it  was  and  is,"  published  in  Vols.  I.  and 
II.  of  Amateur  Work  (Old  Series). 
These  articles  have  been  published  in 
book  form  by  Messrs.  Ward,  Lock  and 
Co.  You  can  obtain  wood  and  tools 
for  tbe  work  from  Mr.  Hill,  72, 
Wardour  Strett,  London,  W. 

Altering  Clock. 

"H.  M.  B."  writes:  —  "I  have  a 
striking  clock  which  goes  50  hours  only 
with  one  winding  up.  Can  I  make  it 
go  for  8  days  by  getting  longer  springs  ; 
and  if  so,  will  you  inform  me  where  I 
can  procure  them,  and  their  price." 

The  answer  most  probably  is  "  No  "  ; 
but  tbe  particulars  given  are  not 
definite  enough.  Is  the  clock  English, 
French,  German,  or  American  ?  If  it 
be  an  American  one-day  (they  usually 
will  go  40  or  50  hours);  there  would 
not  be  room  to  put  springs  long  enough 
and  strong  enough  to  do  S  days'  work. 
If  originally  intended  to  go  8  days,  it 
may  be  failing  from  some  fault  in  the 
barrel  work  (if  it  has  a  barrel,  that  is), 
which  prevents  you  from  winding  to 
the  top,  or  else  prevents  the  spring 
from  running  right  down.  If  you  will 
furnish  fuller  particulars,  we  will  help 
you  if  we  can. — W. 

Photographic  Difficulties. 
"Camera"  writes  : — "Please  allow  me  a 
little  space  to  thank  Mr.  Bennett  for 
bis  reply.  He  has  since  given  me  much 
valuable  assistance  by  post,  which, 
considering  that  I  am  an  entire  stranger 
to  him,  is  exceedingly  kind." 

Electric  Bell  Indicators. 
W.  H.  Burton. — One  of  my  staff  has 
a  paper  in    hand  on  this  subject,  which 
will  meet  your  requirements. 

Replies  Devoid  of  General  Interest. 
H.  A.  L. — The  old  and  new  series  of 
Amateur  Work  are  quite  distinct.     All 
back  Parts  can  be  had. 

H  G.  White  and  B.  E.  W.— If  you 
will  send  definite  questions  on  points 
that  you  fail  to  understand,  they  shall 
be  forwarded  to  tbe  author. 


LETTERS  RECEIVED    UP   TO    FEB.  13. 

H.  Aubrey  Husband  ;  Charlie. 


J    .- 


I 


;■•:•■■ 


1 


i 


PRESENTED     WITH     "AMATEUR    WORK,     ILLUSTRATED,"     PART    29     (NEW     SERIES),    APRIL,    1891. 


FIG.  I.     Side   elevation     '4"  full   5 


G-2    Method  of    marking    out 


WARD,  LOOK  i  00.,  LONDON,  NEW  YORK  ArtD  MELBOURNE. 


1^ 


r/c  Picture  frames  made  from  corks. 


209 


MMCTURE   FRAMES 
MADE  FROM  CORKS. 

By  ROBERT  M.  BARKIRT,  Constable  ?  :.  Const  ' 


3  HE  interest  your  many  readers  evince 
in  Amateur  Work,  prompts  me  to 
•write     this     sketch,     on     the    above 


former  for  sides,  the  latter  for  top  and  bottom. 
Proceed  to  make  an  ordinary  Oxford  frame, 
allowing  projections  at  ends  to  be  3  inches 
from  tenon  cut  (see  Fig.  1);  those  projections 
should  all  be  rounded,  the  etl'ect  of  this  being 
observed  later  on. 

Having  proceeded  so  far,  now  comes  a  rather 
tedious    process ;    but    I    would    suggest    that 


subject.  I  will  endeavour  to  make  myself 
explicit;  and  if  the  particulars  be  carried  out, 
the  result  will  be  such  as  to  secure  a  continua- 
tion of  other  specimens.  The  articles  required 
are  as  follows : — Four  pieces  of  common  deal 
wood,  two  of  those  pieces  measuring  36  inches 
by  3  inches  by  f  inch,  and  the  remaining  two 
measuring  30  inches  by  3  inches  by  §  inch  ;  the 

Vol.  III.  (New  Series).— Part  29. 


"patience"  be  our  motto,  no  matter  how 
ungainly  our  efforts  are.  Obtain  about  ten 
dozen  beer  corks,  wash  them  thoroughly  in 
boiling  water,  so  as  to  free  them  from  sand, 
etc.  ;  and  having  done  so,  allow  them  to  dry. 
While  we  are  thus  proceeding,  boil  some  glue, 
and  in  order  to  ensure  a  greater  amount  of  heat, 
add  a  handful  of   salt  to    the    water  in  which 


210 


A   ROUGH  AND  READY    WAY  TO  MAKE 


the  glue  is  prepared.  This  solution  will  give 
a  heat  equal  to  220  degrees,  while  water  only 
boils  at  212  degrees.  Now  take  each  cork  and 
cut  it  into  six  equal  sections  or  circles  \  inch 
in  thickness,  as  at  Fig.  2.  Having  treated  all 
the  corks  in  this  manner,  take  each  circle  and 
cut  off  about  \  inch,  as  at  Fig.  3,  being  careful 
to  preserve  the  clippings,  as  they  will  afterwards 
occupy  a  prominent  position. 

Let  us  now  make  a  piece  of  wood  6  inches  by 
\  inch,  to  serve  as  a  brush  ;  attach  a  row  of  the 
pieces,  shown  in  Fig.  3,  along  inside  of  frame, 
similar  to  a,  at  Fig.  1  ;  treat  all  edges  in  this 
manner;  be  careful  to  have  a  level  surface. 
Our  remaining  circles  we  shall  glue  along  front 
edge  of  frame,  attaching  them  so  as  to  slightly 
cover  those  already  attached,  the  remaining 
portion  to  cover  edge  of  wood,  and  all  to  be 
perfectly  upright  and  firmly  glued. 

Having  completed  this  somewhat  tedious 
process,  the  remaining  portion  of  our  work  will, 
I  trust,  suggest  to  the  fertile  brains  of  my 
readers,  designs  wherewith  to  complete  vacancy, 
as  at  v.  1  have  just  finished  a  frame  similar 
in  size  to  the  measurements  I  have  given,  the 
design  being  as  shown  in  Fig.  1.  From  a  piece 
of  cardboard  I  cut  a  diamond,  measuring  3 
inches  in  length  and  1|  inches  in  width,  and 
having  found  that  the  length  of  this  diamond, 
divided  equally  into  the  distance  from  E  to  F, 
and  having  also  found  that  3  inches  (the  length 
of  the  diamond)  into  this  distance  would  give 
me  space  for  eight  diamonds,  allowing  the  half 
diamond  at  each  end  to  reach  centre  of  g,  I 
applied  the  same  rule  to  remaining  portions 
of  frame,  allowing  each  point  of  diamonds  to 
meet  in  centre,  as  at  h.  Each  projection  (i) 
furnished  space  for  one  diamond,  so  that  all 
points  met  in  centre.  With  my  pencil  I  out- 
lined as  above,  and  proceeded  to  glue  on 
clippings  from  Fig.  3,  allowing  the  edges  of 
such  to  touch  pencil  line. 

I  had  now  my  diamonds  complete,  and  having 
obtained  half-pound  of  best  rice,  I  gave  centre 
of  diamonds  a  good  coat  of  glue,  and  covered 
it  with  rice.  The  remaining  vacancy  along 
sides,  top  and  bottom,  I  also  coated  with  glue, 
dusting  in  finely  chopped  corkwood  or,  a  less 
tedious  way,   with  cork  dust,,  obtainable  from 


AN  INDEX. 


a   grocer,    and    used    in 
grapes. 

The  frame  should  now  be  allowed  six  hours 
to  dry,  afterwards  turning  it  right  over,  to  allow 
unattached  particles  of  rice  and  cork  to  fall  off, 
also  observing  that  no  rice  gets  mixed  with  cork, 
and  vice  versa.  Two  coats  of  copal  varnish 
completed  my  frame  (do  not  touch  rice  with  it). 
The  total  cost  did  not  exceed  one  shilling,  and 
as  I  have  obtained  a  suitable  picture — seen  from 
a  distance  it  looks  like  the  work  of  an  Indian 
artist,  the  rice  forming  a  beautiful  background. 
I  trust  my  description  is  explicit,  and  that  some 
of  my  readers  will  give  their  leisure  moments 
to  converting  old  corks  into  various  specimens 
of  frames,  and  will  derive  as  much  satisfaction 
from  the  results  as  I  have  done. 


A  ROUGH  AND  READY  WAY  TO 
MAKE  AN  INDEX. 

By  SEMPER  FIDELIS. 

VERY  useful  thing,  in  almost  any 
business,  is  the  humble  yet  indis- 
pensable index  ;  and  it  often  happens 
that  one  is  required  at  once,  without  waiting 
for  the  printer  to  give  us  a  nicely  got-up  one. 

There  is  nothing  easier  to  make  than  an 
index,  yet  some  people  look  upon  it  as  a  feat. 
The  way  to  proceed  is  as  follows  : — Procure  six 
sheets  of  paper  the  size  required,  and  sew  them 
inside  a  piece  of  thin  pliant  cardboard  of 
sufficient  size  to  cover  the  paper.  We  then 
have  a  book  of  twelve  leaves  and  a  cover.  On 
the  first  page  mark  off  with  a  straight  line,  down 
the  entire  length,  the  breadth  of  the  letters,  say 
fths  or  f ths  of  an  inch,  then  mark  off  for  the 
letters.  In  this  case  we  have  supposed  only 
twelve  sheets ;  that  represents  (by  omitting  X 
and  Z)  twenty-four  letters — two  to  a  sheet,  so 
that  we  must  divide  the  full  length  of  the  line, 
already  drawn,  into  twelve  equal  parts,  each 
part  representing  the  space  for  two  letters. 

The  most  expeditious  manner  in  which  to 
arrive  at  the  size  of  these  spaces  is  to  get  a 
slip  of  paper,  cut  it  to  the  exact  length  of  the 
line,  and    fold    it    into    the  number  of    parts 


HOW  TO  ATTACH  AN  ELECTRIC  ALARM  TO   A    CLOCK. 


211 


required,  first  by  doubling,  and  then  by  folding 
up  each  half  separately.  This  may  be  done  in 
one-tenth  of  the  time  it  takes  to  write.  Now,  at 
each  of  the  points  on  the  lines  where  the  spaces 
are  marked,  get  a  needle,  and  prick  holes  right 
through  the  entire  paper;  we  will  thus  have 
marked  the  spaces  on  every  sheet  in  a  few 
moments. 

We  now  get  a  pair  of  scissors,  and  beginning 
at  the  top  of  the  page,  we  cut  across  at  the 
first  space  ;  then  turning  over  the  first  page,  we 
make  a  cut  at  the  next  space  below,  cutting  in 
each  case  exactly  to  the  pricked  hole  from  the 
edge  of  the  paper,  and  so  on  until  we  get  to  the 
last  sheet,  which,  if  we  have  cut  correctly,  will 
not  require  to  be  cut  at  all.  "We  now  take  the 
scissors  and  cut  off  the  strips,  cutting  upwards 
till  we  meet  the  side  cut  on  each  page,  the 
pricked  holes  forming  a  guide  for  the  scissors 
all  the  way  up  the  page.  All  that  remains  now 
is  to  put  the  alphabetical  letters  down  the  edge. 
By  skipping  the  X  and  Z,  we  will  have  two  on 
each  sheet.  If  they  are  neatly  written  in 
printing  style,  in  alternate  red  and  black,  they 
will  look  very  pretty.  A  piece  of  stouter 
paper  pasted  underneath  the  letters  will  make 
a  solid  job  of  it,  and  a  piece  of  marbled  paper 
pasted  over  the  cover  will  give  it  a  finished 
appearance. 

If  we  require  a  sheet  for  each  letter,  we  shall 
require  twenty-four  spaces  and  as  many  leaves ; 
if  more  than  one  sheet  to  each  letter,  we  will 
allow  paper,  and  cut  accordingly. 

After  two  or  three  trials  we  soon  become  so 
proficient  in  cutting  indexes  as  to  dispense  with 
the  services  of  the  printer  altogether. 


HOW  TO  ATTACH  AN  ELECTRIC 
ALARM  TO  A  CLOCK. 

By  JNO.  E.  MILNE. 


Black  Polish  on  Bbass. — To  make  a  dead 
black  jjplish  on  brass,  for  microscopes,  etc.,  mix 
1  ounce  of  nitrate  of  silver  in  a  dish  with  20 
ounces  of  distilled  water.  In  another  dish  mix 
1  ounce  of  nitrate  of  copper  with  20  ounces  of 
distilled  water.  Mix  the  two  solutions  together, 
dip  the  brass  in  the  liquid,  remove  the  brass, 
and  heat  in  an  oven  until  the  desired  degree  of 
black  is  obtained. 

Shellac  and  borax  boiled  in  water  produces  a 
good  stain  for  floors. — Builder  and  Woodworker. 


N  the  present  article  it  is  intended  to 
show  the  reader  how  he  can,  with  no 
great  outlay  of  expense,  time,  or 
ingenuity,  attach  an  electric  alarm  to  an  ordinary 
house  clock. 

Of  course  clocks,  like  persons,  vary  infinitely — 
some  are  large  faced  and  small  bodied,  others 
small  faced  and  large  bodied,  some  all  face  and 
poor  machinery,  others  with  unpretentious  faces 
and  works  hidden  behind  of  the  best  quality ;  and 
as  we  are  informed  by  social  philosophers,  the 
rule   in  the  case  of  mankind  holds  good — the 
more  self-assertive  and  noisy,  the  more  doubtful. 
However,   as  we  are  not  about  to  discuss  a 
problem  in  moral  philosophy,  but  one  pertaining 
to   natural  philosophy,  it  is  sufficient  to   draw 
the    reader's    attention    to    the    fact,    that    as 
clocks  are  so  various  in  their  sizes   and   con- 
struction, he  will  speedily  find  that  a  contrivance 
which  is  suitable  for  one  timepiece  will  be  quite 
unfit  for  another,  and  that  he  may,  perhaps,  have 
to  use  a  little  ingenuity  in  applying  the  principles 
here  found  to  his  particular  case. 

Let  us  begin,  then,  with  the  unassuming  little 
clock  that  hangs  on  the  wall,  whose  face  is 
scarcely  larger  than  a  five-shilling  piece,  and 
having  a  pendulum  like  a  halfpenny  fixed  on  a 
knitting  needle.  The  motive  force  of  this  clock 
is  in  the  weights,  which  are  raised  by  chains  or 
cords,  and  which  move  the  machinery  of  the 
clock  by  their  descending  weight.  An  electric 
alarm  attachment  to  this  kind  of  clock  can  be 
made  as  follows  : — Drill  a  small  hole  on  each 
side  of  one  of  the  weights,  and  by  means  of 
soldering,  tapping,  or  otherwise  fitting,  fasten 
two  brass  eyes,  slightly  smaller  than  the  eyes 
fixed  in  window-shutters  for  the  cords  used 
in  reversing  Venetian  blinds.  Now  fit  tightly 
to  each  side  of  the  weight  one  of  the  eyes. 
Fig.  1  shows  the  eye,  the  line  drawn  at  right 
angles  the  depth  the  eye  maybe  inserted  ;  while 
on  the  other,  the  eye  side  of  the  line,  is  shown 
the  extent  of  projection. 

It  will  now  be    necessary  to  plug  the  hole 


212 


HOW  TO  ATTACH  AN  ELECTRIC  ALARM  TO  A    CLOCK. 


with  a  non-conductor.  A  very  good  thing  is 
a  bagatelle  peg,  or  a  piece  of  a  penholder  of 
hard  wood ;  reduce  it  in  length  to  \  or  §  inch, 
and  drill  a  small  hole  through  it  lengthways,  of 
the  diameter  of  an  ordinary  steel  knitting 
needle,  or  diameter  of  about  18  or  16  B.  G.  W. 


(Birmingham   Gauge   Wire).     Now   fix   a   peg 


1 


firmly  in  each  eye.  A  better  grasp  can  be  got, 
and  the  piece  is  less  likely  to  come  out,  if  the 
sides  are  nicked,  and  the  eye  opened  (which 
latter  can  be  done  with  some  pointed  instrument, 
as  the  handle  end  of  a  file),  and  then  hammered 
together  after  the  piece  is  inserted.  If  the  eye 
should  be  made  in  one  piece,  which  will  not 
allow  of  opening,  the  bone  must  be  jammed  in 
the  eye. 

We    have  now  to  make  the  guides ;    these 
can  be  made  in  a  very  simple  manner,  by  using 
ordinary  bell  wire.     The  weight  of  the  clock 
will  fall  in  a  direct  line  downwards,  so  that  all 
that  is  necessary  to  be  done,  is  to  pass  the  wire 
through    the    eyes    in    the    weight. 
Knock  two    small  nails   in  the   wall, 
fasten  the  ends  of  the  wires  to  them, 
and  then  fix  the  wires  at  the  bottom, 
so  that  the  weight  may  keep  the  two 
wires  just  nicely  apart  there,  as  at  the 
top.     It  will  thus  be  the  same  distance 
all  the  way  up  the  line. 

A  very  good  way  of  tightening  the 
wires  is  to  neatly  plug  the  wall  as 
near  as  possible  to  the  body  of  the 
clock.  If  the  work  is  properly  done 
with  a  fine  ^-inch  plugging  chisel, 
the  holes  need  not  be  more  than  §  inch 
diameter;  and  provided  the  paper  on 

the  wall  is  cut  and  turned  back  during  fig.  2.— a,  positive  pole  ;  b,  nega- 
the   operation,   the   paper  can  be  re- 
placed without  the   wall  suffering  in 
appearance.      A    thin    French    nail    must    be 
driven  in  each  of  the  plugs,  and  the  wire  neatly 
fixed  to  it.     The  other  ends  of  the  wires  are  to 
be  fixed  in  a  similar  way,  with  this  difference, 
that  two  screws  should  in  this  case  be  used  with 
a  hole  drilled  through  each  of  them,  close  under 
the    heads.     The  wire   is   passed   through  the 
holes,  and    wrapped  once  round   the  screw,  so 
as  to  catch ;  then  screwed    up.     The   line  will 
now    overlap    the    end,    and   the  wire    can   be 


JT+ 


NOT   INSULATED, 


tightened,  and  easily  kept  tight  in  future. 
If  drilling  the  holes  occupies  too  long  (it  is  a 
matter  of  no  consideration  if  a  lathe  is  at  hand), 
then  let  the  end  of  the  wire  be  twisted  round 
the  screw,  and  the  line  hold  it  by  overlapping. 
Next  get  a  strip  of  wood  about  |  or  1  inch 
broad,  J  inch  thick,  and  per- 
haps 4  feet  long,  for  an  hour 
scale.  This  can  be  tem- 
porarily fixed  on  the  wall, 
precisely  behind  the  line  of 
the  falling  weight. 

Upon  this  scale  mark  off 
the  hours,  as  in  Fig.  2, 
which  represents  the  work 
completed.  For  this  purpose 
it  will  be  as  well  to  wind 
up  the  clock  to  the  fullest 
extent.  Then  having  wound 
up  the  clock,  find  by  ex- 
periment the  exact  space  the 
weight  passes  through  in 
the  first  hour,  and  mark  it 
on  the  wood,  and  so  with 
all  the  scale,  numbering  the 
marks  for  convenience,  and 
remembering  that  the  spaces 
will  not  be  the  same  all  the 
way  down  if  the  clock  has  a 
weight  and  chain  wound  on 
a  drum  ;  so  if  the  alarm  is 
required  to  go  off  in,  say, 
four  hours,  the  figures  will 
at  once  indicate  the  neces- 
sary spaces  to  be  passed, 
and  the  required  mark  to 
be  reached. 

Should    the    clock    have 

chains     attached      to      the 

weight,  one  pole  of  the  battery  can  be  joined  to 

the  works  of  the  clock ;  the  other  is  fixed  to  one 

of  the  wires    upon  which   the    weight    slides 


wires 
(marked  b,  in  Fig.  2). 

A  clip  like  a  letter  clip,  or  metal  book-marker, 
must  be  made.  This  can  easily  be  done  by 
soldering  two  pieces  of  tempered  brass  or  watch- 
spring  together  (Fig.  3),  so  that  the  clip,  when 
finished,  will  hold  itself  firmly  when  pressed  eae 
the  wire  guide. 


HOW  TO  ATTACH  AN  ELECTRIC  ALARM  TO  A    CLOCK. 


213 


FIG. 6. 

IKAlorum.  disc  with  hours. 
BDisc  hc&i'rjig the hammer %-Tipon, 

whuJi  tkehammerlever presses. 
CMammerlever.  _ 
OBammer. 
E  Jftck  which  sets  free  the  hammer 

lever  cuid  allows  the  oell  to  ring. 


FIC.  BA. 
Side  view. 
A  Face 
BBMmds. 
C  Disc. 
D  Hammer 
tJIotein  face  of 
disc  fir  hammer 
to  work. 


F 1 0.10. 


214 


HOW  TO  ATTACH  AN  ELECTRIC  ALARM  TO  A    CLOCK. 


The  action  of  the  alarm  is  this  : — Suppose  the 
clock  is  to  be  set  for  12,  the  clip  is  fixed  to  the 
wire  from  the  pole  of  the  battery,  exactly  over 
the  proper  mark  on  the  scale  ;  then  the  weight, 
in  the  course  of  its  fall,  touches  the  clip.     The 
circuit,  which  it  will  be  seen  up  to  the  present 
has   been   open,    is   now   closed.     The   current 
passes   from   the   one  pole   of   the    battery  to 
the    works    of    the    clock,     down     the     chain 
(chain,   and    not    cord)  supporting   the   clock- 
weight,  and  then  by  the  clip  and  guide  wire 
to  the  other  pole  of  the  battery.      The  alarm 
in  this  case   is   assumed   to   be   set  when   the 
clock-weight  is   wound  or  drawn   up  ;    but   the 
reader  will  see  that  the  alarm  can  be  set  when 
the   weight   is   in   other  positions,    during    its 
descent.     If,  however,  the  weight  is  attached  to 
the  drum  of  the  clock  by  catgut,  the  mechanism 
will  be  somewhat  different.     A  simple  method 
of  adapting  the  above  to  this  case,  is  to  join  a 
pole  of  the  battery  to  the  ends  of  each  of  the 
wires  a  and  b  (see  second  diagram,  Fig.  2),  but 
only  one  of  the  eyes  will  be  insulated,  as  the 
one  on  the  wire  on  which  the  clip  is  (c) ;  the 
other  (d)  will  not  be  insulated,  but  be  a  plain 
metal  eye.     The  reason  of  this  the  reader  will 
easily  anticipate.     If  the  clip  be  fixed  at  six,  as 
before,    the  action  will   now  be    as   in  Fig.  2. 
Whenever  the  bottom  of  the  weight  touches  the 
clip,  the  circuitwill  be  closed,  and  the  currentflow, 
as  represented  by  the  arrows  from  the  positive 
pole  of  the  battery,  along  the  wire  a,  uninsulated 
eye  d,  weight,  across  clip  e,  wire  B  to  negative  pole. 
The  reader  can  make  numerous  adaptations 
of  the  above  principle   when  constructing  this 
kind   of    alarm ;    he   must   remember   that    in 
winding  the  clock  the  weight  must  be   raised 
to   exactly    the    same   height    each   time.      In 
order  to  accomplish  this,  he  had  better  fix  on 
the  clock  a  plate  of  metal  or  wood,  with  a  small 
hole,  c,  through  it  (Fig.  2),  through  which  the 
weight  rope  passes,  so  that  when  the  clock  is 
wound  up,  the  weight  will  stop  at  the  plate. 

We  will  now  consider  another  class  of  clock. 
Take,  for  example,  the  kind  shown  in  Fig.  4, 
where  the  dial  glass  opens  to  the  front,  and  the 
face  can  be  taken  off  by  removing  a  couple  of 
small  screws. 

The  writer  had,  some  years  ago,  an  electric 


alarm  of  a  very  simple  kind,  which,  perhaps, 
will  be  considered  by  the  reader  too  unscientific 
to  merit  consideration.  His  experience,  however, 
was  that  it  worked  remarkably  well.  The 
plan  adopted  was  to  coat  with  shellac  two 
fine  copper,  silk  or  cotton  covered,  wires  about, 
say,  30  B.  W.  G.  One  wire  was  bent  to  a 
slightly  curved  shape,  as  in  Fig.  5,  and  put  on 
the  dial  at  the  hour  chosen,  say  six  o'clock. 
The  second  wire  (the  minute  finger  wire)  was 
placed  in  the  same  manner  at  the  hour  twelve.  A 
battery  was  put  in  circuit  with  the  other  ends  of 
the  wires,  and  the  door  of  the  clock  was  then 
closed  upon  the  wires,  which  held  them  in 
position,  or  if  they  moved  during  the  closing  of 
the  door,  they  could  be  easily  adjusted  by 
regulating  them  from  the  outside.  The  hour 
hand  wire  was  just  raised  sufficient  to  catch  the 
hour  hand  when  it  arrived  opposite  the  hour 
intended,  but  the  minute  hand  passed  over  this 
wire  without  contact.  The  minute  hand,  every 
hour,  passed  over  the  other  wire  (the  minute 
hand  wire  at  twelve  o'clock),  gently  pressing  it 
down  for  the  moment ;  but  owing  to  the 
elasticity  of  the  fine  wire,  it  immediately  rose 
on  the  pressure  being  relaxed.  However,  at 
six  o'clock,  when  the  two  hands  touched  both 
wires,  the  alarm  rang. 

The  reader  should  remember  that  if  the 
dial,  being  metal,  should  form  a  conductor,  as 
it  may  do,  then  the  wire  should  be  glued  to  a 
fine  piece  of  cardboard,  or  other  insulating 
means  employed,  to  prevent  the  circuit  being 
closed.  The  writer,  however,  did  not  find  this 
necessary,  as  the  enamelling  of  the  dial  acted 
as  an  insulator.  It  will  be  well  to  see  that  the 
under  part  of  the  hands,  which  make  contact,  are 
clean,  as  also  the  parts  of  the  wires  to  come  into 
contact,  that  the  current  may  not  be  impeded. 
Platinum  wire,  soldered  under  the  ends  of  the 
hands  of  the  clock  for  better  contact,  can  be 
used  if  desired.  The  shellac  coating  prevents 
the  silk  or  cotton  covering  of  the  wire  fraying 
or  unwinding.  The  experiment  is  simple,  and 
involves  no  trouble.  One  great  advantage  is, 
that  the  alarm  goes  off  punctually  to  the 
minute,  owing  to  the  action  of  both  hands.  If 
preferred,  one  wire  of  contact  can  be  used  for 
the  hour  hand,  while  the  other  wire  is  fastened. 


HOW  TO  ATTACH  AN  ELECTRIC  ALARM  TO  A    CLOCK. 


215 


to  the  -works  of  the  clock.  The  system  depend- 
ing upon  the  action  of  the  hour  hand  only,  is 
necessarily  somewhat  uncertain,  within  the 
limit  of  some  moments,  especially  if  the  hour 
hand  does  not  He  truly  over  the  hour  it  should 
indicate. 

Again,  take  the  ordinary  striking  clock,  of 
the  wooden  alarm  clock  shape,  in  which  the 
dial  is  affixed  to  the  woodwork  of  the  clock, 
approached  from  the  front  by  a  glass  door. 
This  may  be  fitted  with  an  electric  alarm,  which 
with  a  little  adjustment  will  be  found  to  work 
satisfactorily.  In  fact,  it  is  constructed  on  the 
same  principle  as  the  ordinary  alarm  clock. 
Suppose  such  a  clock  is  to  be  fitted  with  an 
electric  alarm,  some  trouble  will  be  spared  if  the 
reader  purchase,  from  a  working  clock-maker, 
the  brass  wheel  marked  with  the  hours,  which 
he  will  see  fixed  on  the  hour  hand  pinion  of  the 
ordinary  alarm  clock,  by  turning  which  to  the 
proper  hour  the  alarm  is  set.  ^The  shape  of  this 
disc  is  shown  in  Fig.  6.) 

The  ordinary  alarm  clock,  the  construction  of 
which  is  well  known  to  the  reader,  but  which  it 
may  be  as  well  in  passing  to  describe,  acts  as 
follows  : — If  the  hour  of  rising  is  to  be  six,  the 
brass  wheel  is  turned  until  the  figure  six  marked 
on  it  is  exactly  under  the  hour  hand  of  the  clock, 
the  alarm  being  then  wound  up.  The  lever  of 
the  hammer  presses  against  the  circumference  of 
a  brass  circle  behind  the  hour  marked  on  the 
disc  till  the  time  is  reached,  then  a  nick  in  the 
circle,  revolving  with  the  hand,  lets  free  the 
hammer,  which  rings  the  alarm.  The  principle 
of  the  action  can  easily  be  understood  by  ex- 
amining any  alarm  clock.  This  action  being 
ascertained,  the  following  description  will  pre- 
sent no  difficulty. 

Having  procured  the  wheel,  take  off  the 
dial  of  the  clock  to  be  adapted;  if  it  is  an 
ordinary  white  enamel  metal  or  paper  face, 
there  will  not  be  much  difficulty,  if  care  be 
taken,  in  fixing  it  on  the  lathe,  and  cutting  a 
circle  out  of  the  centre  large  enough  to  admit 
the  metal  wheel.  If  the  work  is  carefully  done, 
the  face  will  not  suffer  any  material  damage. 
The  outward  appearance  when  finished  will 
then  be  like  the  ordinary  alarm  clock  face. 
Putting  this  aside,  fit  the  brass  circle  on  the 


hour  hand  pinion,  so  that  it  can  with  moderate 
pressure  be  turned  round,  and  fix  on  the  hands 
in  the  usual  way,  for  the  purpose  of  experiment. 

It  is  presumed  that  the  graduated  wheel 
obtained  by  the  reader,  belonged  to  an  alarm 
clock  of  a  somewhat  similar  size  and  description 
to  the  clock  to  be  adapted,  so  that  the  wheel 
will  not  be  desired  to  be  fitted  to  a  spindle  of 
very  different  diameter  than  the  one  it  was 
originally  intended  for.  This,  however,  the 
reader  will  see  to. 

Now,  in  the  most  convenient  position,  fix  a 
spring  to  act,  as  shown  in  Fig.  7.  A  block  of 
wood,  g,  may  be  glued  inside  the  case,  avoiding, 
of  course,  any  obstruction  to  the  action  of  the 
pendulum.  Upon  this  block  the  springs,  a 
and  b,  are  screwed,  a,  it  will  be  observed, 
presses  against  the  metal  wheel,  and  breaks 
contact  with  b,  until  the  hand  arriving  at  the 
hour  has  brought  round  the  nick  with  it,  when 
a  will  then  be  allowed  to  make  contact  with  b  ; 
close  the  circuit,  and  the  bell  will  ring. 

The  wires,  d  e,  pass  out  to  battery  and  bell, 
connected  in  the  usual  way. 

The  spring  can  be  made  of  springy  brass, 
soldered  to  a  right  angle  of  brass,  drilled  for 
screw-holes. 

This  plan  is  not  so  accurate,  in  regard  to  the 
alarm  going  off  to  the  minute,,  as  a  wire  in  con- 
nection with  each  hand;  but  this  uncertainty 
or  defect  applies  to  the  case  of  the  ordinary 
alarm  clock.  Though  the  principle,  as  regards 
mechanics,  is  not  of  the  best,  yet  in  practice 
any  shortcomings  can  be  overcome  by  careful 
regulation. 

If  the  hour  is  often  altered,  there  may  be  too 
much  delay,  or  too  great  haste  in  ringing, 
owing  to  the  wheel  not  working  round  exactly  to 
suit  the  time  it  is  set  to.  To  make  this  clear — 
suppose  the  hour  for  the  bell  to  ring  is  seven 
o'clock,  set  Fig.  7  under  the  hour  hand.  If  the 
bell  now  rinys  at  7.15,  set  the  wheel  next  time 
so  that  the  hour  seven  on  the  disc  is  slightly 
in  advance,  not  under  the  hour  hand,  and  so  on 
to  suit  circumstances.  If,  however,  the  bell 
is  fixed  for  a  set  hour,  no  trouble  worth 
mentioning  will  be  encountered,  as  the  disc  can 
be  set  till  the  nearest  approach  to  exactitude  in 
ringing  is  found. 


*216 


WOOD  ENGRAVING  FOR  AMATEURS. 


When  found  to  work,  take  off  hands,  fix  on 
face,  and  replace  the  hands.  The  interior 
mechanism  will  now  be  almost  hidden. 

If  the  reader  cannot  neatly  cut  a  circular  hole 
in  the  face,  he  can  for  a  few  pence  procure  an 
alarm  clock  dial ;  or  if  he  has  broken  the  paint 
on  the  face  of  the  metal  dial,  he  can  paste  on  it 
a  paper  face,  which  can  be  bought  for  Id.  from 
any  dealer  in  watchmakers'  sundries. 

Possibly  the  following  general  hint  may  be 
useful : — In  some  clocks,  often  those  of  a  larger 
size,  say  hall  or  shop  clocks,  of  the  wooden  round 
pattern,  it  is  sometimes  possible,  if  the  wheel 
above  mentioned  cannot  be  used,  to  insert  a 
thin  notched  disc  of  metal  between  the  hour 
hand  and  the  face,  marked,  as  the  reader  best 
can,  to  indicate  the  hours,  which  being  fixed  on 
a  thin  brass  tube,  moves  on  the  hour  hand 
pinion;  the  hole  in  the  face  of  the  clock, 
through  which  the  hand  pinions  pass,  being 
larger  than  necessary,  and  so  allowing  ample 
space  for  a  tube  being  placed  on  the  hour 
pinion  (see  Fig.  8).  If  the  clock  is  intended 
to  ring  always  at  a  set  hour,  a  plain  nicked 
disc  will  do,  with  the  sharp  point  of  disc  set 
under  the  hand  to  the  hour  required.  Any 
deformity  of  the  face  can  be  avoided  by  fixing 
the  springs  behind  the  dial,  making  a  small 
hole  at  e,  soldering  to  the  top  of  the  spring  (a) 
the  stout  wire  (d),  which  comes  out  through  the 
face  of  the  clock,  and  presses  on  the  disc. 

Another  class  of  clock  is  the  American  metal 
alarm  clock,  a  round  band  of  metal  enclosing 
face  and  works.  In  regard  to  this  class  the 
writer  suggests  a  simple  device  which  the 
reader  might  try.  Drill  a  hole  through  the  rim 
between  the  face  and  the  glass,  plug  the  holes 
with  a  non-conductor,  i.e.,  ivory,  bone,  or  hard 
wood;  bore  small  holes  through  plug,  pass 
the  hour  wire  through,  similarly  as  described 
in  example  (Fig.  9).  Two  wires  can  be  so  used 
for  minute  and  hour  hands ;  care,  however, 
being  taken  that  the  wires  are  insulated  when 
resting  on  the  face.  A  switch  should  be  affixed 
to  the  clock,  so  that  the  ringing  of  the  bell 
can  be  stopped  when  desired.  This  can  easily 
be  made  by  putting  one  in  circuit ;  for  example 
(Fig.  10).  When  the  handle  is  on  a,  the 
machine  is  out  of  circuit ;   when  on  b,  in  circuit. 


WOOD    ENGRAVING 
AMATEURS. 


FOR 


By  AN  AMATEUR  WOOD  ENGRAVER. 


V.— How  to  Remedy  Mistakes— Taking  Proofs - 
Ruling—Cross-hatching— White  Cross-Lining— 
Conclusion. 

JUT  a  very  important  part  of  the  works, 
not  yet  touched  on,  is  how  to  remedy 
mistakes. 

How  to  remedy  Slips. — When  the  tool  slips 
past  the  place  where  it  is  intended  to  stop,  and 
gouges  into  another  line,  the  accident  may  be 
remedied  by  what  is  called  "  plugging."  With 
a  suitable  drill,  or  even  a  bradawl  in  some 
cases,  drill  a  hole  large  enough  to  cover  the 
space  damaged.  Then  take  a  boxwood  chip, 
and  whittle  it  round  and  of  a  size  just  large 
enough  to  fit  tightly  into  the  hole.  Drive  the 
plug  firmly  into  place,  and  then  by  means  of  a 
very  fine  saw,  which  may  be  made  out  of  an  old 
clock  spring  (see  Fig.  25),  saw  off  as  nearly 
even  with  the  surface  of  the  block  as  possible. 
Be  sure  and  not  let  the  saw  drag  on  the  other 
lines  of  the  block,  for  if  you  do  it  will  keep  you 
plugging  all  the  time ;  as  a  protection  while 
sawing,  take  a  piece  of  writing  paper  and  tear 
a  slit  halfway  through  it,  with  a  small  hole  in 
the  centre  just  large  enough  to  encircle  the  plug. 
Place  this  around  the  plug  on  the  block,  and 
saw  above  it,  and  there  will  be  no  danger  unless 
you  saw  through  the  paper ;  but  you  can 
look  out  for  the  paper  more  easily  than  you 
can  for  the  bare  wood.  Fig.  26  will  show  how 
to  tear  the  paper.  Now,  with  a  chisel,  shave  off 
the  plug  until  it  is  even  with  the  rest  of  the 
block,  using  great  care  not  to  go  too  deep.  If 
the  job  of  plugging  is  well  done,  the  cut  will 
not  show  where  plugs  are  placed.  Amateurs 
will  find  this  method  of  remedying  slips  a  great 
source  of  relief,  as  the  tools  will  go  too  far 
sometimes  in  spite  of  care.  Fig.  27  shows  the 
block  with  the  plug  inserted  ready  to  saw  off. 

Taking  Proofs. — When  the  cut  is  complete,  a 
proof  of  it  should  be  taken;  and  this  is  the 
method  generally  employed.  With  the  dabber, 
previously  described,  place  a  small  quantity  of 
printer's  ink,  of    a  good  quality,  on  a  smooth 


WOOD  ENGRAVING  FOR  AMATEURS. 


217 


surface — marble  or  glass — and  work  it  evenly 

over  the  surface.     Then  touch  the  cut  lightly 

with  the  dabber  until  the  surface  of  it  is  covered 

with  ink,  and  place  on  it  a  piece  of  India  paper 

a  little  larger  than  the  block.     Over  this,  place 

a  piece  of  cardboard,  and  go  over  it  with  a  steel 

or  ivory  burnisher,  or  the  handle  of  one  of  your 

tools,  if  smooth  and  hard,  may  be  used.     Rub 

smoothly  over  the  whole  surface,  and  then  lift 

up  a  corner  to  see  if  the  print  is  coming  out 

all    right ;     if    not,     give 

another  rubbing",  and  re- 

.,  ,.  r\z  Z5  SaJ^foraiXtinn  offphiqs 

move  the  paper.      It  pro-  J  •* 


fig  zsPaper  tarn,  toplace  over  Mock 
when,  scaving  o/fpluq . 


perly  inked  and  burnished,  a 
fine  proof  of  the  engraving 
will  appear  on  the  paper,  and 
anything  overlooked  when  cut- 
ting may  be  completed  or 
corrected.  But  after  a  cut  is 
inked  and  washed,  tools  do  not 
work  so  well ;  the  engraver 
should,  therefore,  aim  to  have 
it  as  near  completion  as  pos- 
sible before  the  proof  is  taken. 

If  the  amateur  possesses  a 
printing  outfit,  a  proof  may  be 
taken  the  same  as  of  a  type 
forme ;  that  will  answer  the  pur- 
pose just  as  well.  Wash  the  cut 
in  benzine.  Do  not  use  lye,  as 
it  will  swell  the  wood. 

Stray   Hints. — A  small  brush 
is  handy  for  removing  the  chips 
from  the  block   as   the  work   proceeds 
style  may  be  used. 

Sit  as  erect  as  possible  at  your  work ;  a 
stooping  position  is  dangerous  to  health,  and  is 
not  so  easy  as  an  erect  position. 

It  is  a  good  thing  to  wear  a  shade  to  protect 
the  eyes  from  the  glare  of  the  light ;  too  much 
attention  cannot  be  paid  to  the  eyes  by  an 
engraver. 

In  whitening  blocks  for  drawing,  do  not  get 
too  much  on ;  if  there  is  too  much,  it  pushes  up 
in  front  of  the  pencil,  and  makes  bad  work. 

A  fine  oil-stone  for  sharpening  tools  should  be 
among  the  engraver's  kit ;  a  small  stone  that  can 
be  kept  in  the  box  or  drawer  with  the  tools,  so 
as  to  be  always  at  hand,  is  most  convenient. 


' 

\ 

',      : 

F I C .  27.  Block  showing  plug 
ready  to  ie  saum. 


Any 


For  enlarging  or  reducing  a  drawing  for  the 
block,  a  pantograph  is  very  useful ;  it  is  a 
simple  and  inexpensive  instrument,  and  has 
been  described  several  times  in  back  numbers  of 
this  magazine. 

Machines  are  used  a  great  deal  for  ruling, 
and  are  made  to  do  all  kinds  of  straight  and 
circular  tint ;  they  also  have  attachments  for 
wave  and  fancy  ruling,  and  a  great  variety  of 
work  is  done  with  them. 

"  Cross-hatching  "   is  a 
style  of  engraving  where 
the  lines  cross  each  other 
in  various  ways.     It  is  done 
with    a    lozenge    graver,    the 
square  of  wood  being  removed 
by  two  cuts  of  the  tool  inserted 
at  opposite  angles.     It  is  not 
used  as  much  now  as  it  was  a 
few  years  ago,   and  need  not 
be    attempted    much    by    the 
amateur.     White  cross-lining, 
the  opposite  of  cross-hatching, 
is  much  more  expressive,  and 
is  used  largely  now.     It  is  pro- 
duced by  cutting  ordinary  lines 
to  conform  to  the  subject  being 
engraved,  which  are  afterwards 
cross-lined,  the  same  rule  being 
observed  to  give  it  finish. 

Conclusion. — In  drawing  this 
paper  to  a  close,  I  would  repeat 
what  I  said  at  the  start,  that 
patience  is  a  virtue  much  needed  by  one  who 
attempts  to  engrave  on  wood.  It  is  slow  work, 
and  at  times  very  trying,  especially  to  one  who 
is  attempting  it  without  a  teacher.  But  a  good 
proof  of  your  cut  is  ample  reward  for  your 
labour;  and  to  see  the  apparently  meaningless 
lines  of  wood  transformed  into  a  clear  picture 
by  the  ink  dabber,  is  well  worth  working  for. 
The  work  is  well  adapted  to  the  amateur  with 
artistic  tendencies,  as  the  artist  and  engraver 
are  but  accidentally  separated.  I  hope  I  have 
made  the  subject  sufficiently  clear  to  enable 
one  to  make  a  start  at  least  ;  and  if  there  is 
anything  that  does  not  appear  plain,  I  shall  be 
pleased  to  answer  any  questions  that  may  be 
asked  through  "Amateurs  in  Council." 


218 


A   MODEL    CUTTER. 


A  MODEL   CUTTER. 

By  ELECTRON. 

(For  Illustrations  see  Folding  Sheet  presented  with  this  Part.) 

*"~TJ|g#jODEL  yacht  making  is  a  favourite 
1 J  occupation  with  most  amateurs  ;  hut 
gj     the  making  of  a  good   model  is  not 


an  easy  task ;  it  requires  great  patience  and 
perseverance,  and  a  plan  and  sections  must  he 
drawn  hefore  commencing.  In  the  following 
article  it  is  proposed  to  show  how  to  make  a 
model  cutter,  which  is  one  of  the  most  satis- 
factory for  sailing.  Fig.  1  is  a  side  elevation, 
one-fourth  full  size,  showing  the  hull  in  profile, 
and  the  spars,  sails,  and  rigging ;  the  lower 
haded  part  is  the  keel,  which  is  of  lead  ;  the 
lower  edge  of  the  shaded  part  at  the  top  is  the 
water-line. 

The   Hull. — The   hull  should  be  made   first. 
Procure  a  piece  of   dry,   well-seasoned  yellow 
pine,  free    from    sap,   shakes,    and  knots ;   be 
particular  in  selecting  a  good  piece,  as  it  is  very 
annoying,  after  the  work  is  half  done,  to  come 
upon  a  crack,  and  to  have  to  throw   it   away. 
The  piece  must  be  2  feet  8  inches  long,  7  inches 
broad,  and  6  inches  deep ;    plane  this  up  and 
square  each  side,  and  divide  it  by  pencil  lines 
into  spaces  4  inches  wide,  as  shown  in  Fig.  2  ; 
then  mark  on  both  sides  the  curved  line  forming 
the  top  of  bulwarks  (Fig.  2  is  one-eighth  full 
size,   and   dimensions   taken   from   it   muBt   be 
enlarged  eight  times) ;  set  otf  the  depth  at  each 
division,  and   draw  the  line  with  a  curved  rule, 
and  cut  down  the  top  of  the  block  level  with 
these  lines  ;   then  mark  the  pencil  lines  across 
again,  and  draw  a  centre  line  down  the  top,  and 
also  the  under   side,  and    mark  with  a  gauge 
on  the  under  side,   two  lines  A  inch  on  each 
side  of  the  centre  line,  marking  them  well  in  ; 
this  will  be  the  line  of  the  keel.  Then  mark  on 
the    top    at   each  side   the  deck   plan,  half    of 
which  is  shown  in  Fig.  3,  one-eighth  full  size  ; 
then  cut  the  block  all  round  J  inch  larger  than 
this  line,  and  also  cut  away  the  stern,  as  shown 
in  Fig.  1  ;    then  make   seven   sections  in   stiff 
cardboard,  the  reverse  of  those  shown  in  Fig.  4, 
which  are  full  size,  and  number  them.     No    1 
is    the    section    at  No.   1    on    Fig.  2,  and    the 


rest  follow  consecutively.  Then  with  gouge  and 
chisel  cut  away  the  hull  at  each  line  till  the 
section  fits  accurately,  cutting  across  the  grain 
of  the  wood;  and  when  the  whole  are  cut  in 
on  both  sides,  pare  away  the  intervening  wood, 
using  a  scraper  to  finish  with,  so  as  not  to  make 
any  indentations  in  the  wood.  Make  both  sides 
exactly  alike  ;  the  more  care  that  is  used  in  this 
part  of  the  work,  the  better  will  be  the  sailing 
properties  of  the  model. 

Next  hollow  out  the  inside ;  aim  at  making 
the  hull  -J  inch  thick,  but  be  careful  not  to  cut 
it  through ;  a  few  cardboard  sections  will  be 
useful  as  a  guide.  Then  fix  across  the  inside 
of  the  hull  four  or  five  cross-pieces,  to  receive 
the  deck ;  they  should  be  slightly  curved  on 
the  top  side,  and  fixed  J  inch  below  the  top  of 
the  bulwarks  ;  then  get  a  piece  of  J  inch  board, 
and  plane  it  up  for  the  deck,  and  mark  it  with 
a  gauge  \  inch  apart,  to  imitate  the  planking ; 
cut  it  exactly  to  shape,  and  brad  it  down,  but 
before  fixing  it,  bore  a  f-inch  hole  for  the 
mast ;  and  also  make  a  hole  in  the  bottom 
of  the  hull  for  the  foot  of  the  mast ;  or  if 
there  i's  not  sufficient  substance,  fit  a  piece 
of  wood  in  with  a  hole  in  it.  A  little  thick 
paint  or  white  lead,  put  round  the  edge  of  the 
deck,  will  make  it  water-tight ;  a  hatchway  may 
be  cut  in  the  deck  midway  between  the  mast 
and  the  stern,  or  an  imitation  cover  may  be 
fixed  on  the  deck. 

Then  make  the  keel,  of  cast  lead,  the  size 
shown,  and  £  inch  thick  at  the  top  edge,  and 
J  inch  at  the  lower  edge ;  it  may  be  cast  in  a 
wood  mould,  keeping  the  lead  as  cool  as  it  will 
run ;  plane  or  file  the  keel  smooth,  and  drill 
holes  and  fix  it  with  screws,  countersinking  the 
heads.  It  will,  perhaps,  be  advisable  before 
fixing  the  keel  permanently,  to  try  the  model 
and  see  if  it  sinks  to  the  water-line ;  if  too 
heavy,  a  little  can  be  taken  off  the  keel.  Then 
make  the  rudder,  as  shown,  and  fix  it  with 
strong  cord  in  two  places  ;  the  top  end  is  made 
round,  and  passes  up  through  a  hole  in  the  hull 
and  deck ;  it  must  be  fixed  stiff,  so  that  it 
will  stand  at  any  position,  as  it  cannot  be 
shitted  when  the  model  is  sailing.  A  tiller 
handle  may  be  fixed  on  the  top. 

The  hull  should  be  painted  black  above  the 


A    MODEL    CUTTER. 


219 


water-line,  and  on  the  top  edge  of  bulwarks, 
with  a  red  stringing  line  at  level  of  deck,  and 
below  the  water-line  paint  it  coppery  red,  to 
imitate  the  copper  sheathing.  The  deck  and 
inside  of  bulwarks  may  be  white,  or  varnished, 
but  the  varnish  must  be  such  as  is  not  affected 
by  water. 

Next  make  a  cradle  or  stand ;  this  will  keep  it 
upright  while  being  rigged,  and  will  be  useful 
after,  as  if  set  against  a  wall  with  no  support, 
the  spars  or  rigging  may  be  damaged.  Get 
two  pieces  of  f  inch  board,  and  cut  them  out  in 
the  centre  to  fit  the  hull,  and  join  them  together 
by  a  piece  of  wood  at  each  side  10  or  12 
inches  long. 

The  Spars. — The  spars  consist  of  the  mast, 
top-mast,  bowsprit,  jib-boom,  spanker-boom, 
gaff,  and  top-sail  yard.  The  mast  is  f  inch 
diameter,  and  stands  27|  inches  above  the  deck; 
the  top  part  for  4|  inches  is  slightly  reduced, 
and  made  square.  The  top  mast  is  18  inches 
long,  is  inch  diameter  at  the  foot,  and  fs  inch 
at  the  top,  and  is  fixed  to  the  mast  by  the  cross- 
trees  (Fig.  5)  and  the  cap  (Fig.  6).  The 
cross-trees  are  \  inch  thick,  cut  (as  shown)  out  of 
a  piece  of  hard  wood,  and  fixed  on  the  mast 
by  a  square  mortise  hole ;  they  rest  on  two 
cleats,  fixed  one  on  each  side  of  the  mast.  The 
cap  is  fixed  on  the  top  of  the  mast  in  a  similar 
manner ;  the  top-mast  is  fixed  in  the  two 
circular  holes  by  wire  pins.  A  cleat  is  fixed  to 
the  mast  just  above  the  cross-trees,  to  carry  a 
double  sheaved  block  for  the  gaff  halliard. 
The  bowsprit  is  14^  inches  long,  fs  inch 
diameter  at  the  outer  end,  and  {%  inch  at  the 
inner  end,  and  projects  6£  inches  over  the  stem  ; 
the  part  resting  on  the  deck  is  left  square  at 
the  underside.  The  jib-boom  is  21  inches  long, 
\  inch  diameter  at  the  inner  end,  and  \%  inch  at 
the  outer  end ;  it  is  connected  to  the  bowsprit 
in  the  same  manner  as  the  top-mast;  it  projects 
12  inches  outside  of  the  bowsprit.  The  spanker 
boom  is  23  inches  long,  \  inch  diameter  at  the 
inner  end,  and  ?.;  inch  at  the  outer  end.  The 
gaff  is  16  inches  long,  i7*  inch  diameter  at  the 
inner  end,  and  &  inch  diameter  at  the  outer 
end ;  the  inner  ends  of  gaff  and  spanker-boom 
are  made  to  fit  on  the  mast,  as  shown  in  Fig.  7. 
The  topsail  yard  is  A  inch  diameter  and  7  inches 


long.  The  spars  may  be  painted  white  with 
black  ends,  or  varnished  with  good  varnish ; 
they  must  be  neatly  rounded,  and  finished 
smooth  with  glasspaper, 

The  Rigging. — The  rigging  is  made  with 
proper  rigging  cord,  which  can  be  procured  from 
Stevens'  Model  Dockyard,  Aldgate,  or  Bateman's, 
Fleet  Street.  By  a  reference  to  Fig.  1,  a  good 
idea  may  be  formed  of  the  manner  in  which 
the  rigging  is  fixed.  Eight  single-sheaved 
blocks,  as  shown  in  Fig.  9,  will  be  required, 
and  one  double-sheaved  block.  Eight  dead- 
eyes  will  be  required  for  the  main  shrouds, 
and  six  smaller  for  stays,  etc.,  as  shown  in 
Fig.  8.  These  can  be  purchased,  but  as  they 
are  rather  costly,  there  is  no  reason  why  they 
should  not  be  made  by  the  amateur  ;  boxwood 
is  generally  used  for  them.  Square  the  wood 
to  the  outside  size,  then  cut  a  mortise  for  the 
pulley,  and  square  it  out  with  a  small  file.  The 
pulleys  may  be  turned  on  a  small  mandrel  in 
the  lathe,  and  are  fixed  by  a  wire  put  through 
the  centre  of  the  block ;  then  cut  the  outside 
to  an  oval  shape,  filing  it  up  smooth,  and  file  a 
notch  round  the  centre  for  the  strap.  The  dead- 
eyes  are  made  in  a  similar  manner,  but  have  no 
pulley ;  if  boxwood  cannot  be  got,  plane-tree 
will  make  a  good  substitute. 

The  mast  must  be  set  square  from  the  deck 
crossways,  and  with  a  slight  inclination  to  the 
stern;  it  is  fixed  by  the  shrouds  at  each  side 
with  dead-eyes  at  the  foot,  and  the  ends  fixed 
to  the  hull.  The  dead-eyes  are  kept  from  the 
bulwarks  by  a  guide  board,  i3s  inch  wide  on 
each  side ;  the  top-mast  is  also  secured  by 
shrouds  passing  through  the  cross-trees,  and 
brought  down  to  the  main  shrouds ;  ladders 
may  be  formed  on  the  main  shrouds  if  desired. 
A  back  stay  is  fixed  at  each  side  with  two 
dead-eyes,  as  shown  ;  a  fore  stay  is  fixed  to  the 
bowsprit,  and  a  stay  is  carried  from  the  top- 
mast to  the  end  of  jib-boom.  A  stay  is  carried 
from  the  end  of  jib-boom  on  each  side  to  the 
bulwarks,  and  stays  from  the  ends  of  jib-boom 
and  bowsprit  are  carried  to  the  stem.  A  double- 
sheaved  block  is  fixed  to  a  cleat  above  the  cross- 
trees,  and  a  single-sheaved  block  on  the  inner 
end  of  gaff ;  and  a  halliard  is  reeved  through 
these  to  lift  the  gaff.     A  single-sheaved  block  is 


220 


A   FOLDING    TRAy   SHELF. 


fixed  on  the  gaff,  near  the  outer  end,  and  a 
dead-eye  and  single-sheaved  block  is  fixed  on 
the  mast  just  below  the  cap,  and  through  these 
a  halliard  is  reeved  to  raise  the  outer  end  of 
gaff.  The  spanker-boom  is  lashed  to  the  mast 
at  the  inner  end,  and  at  the  outer  end  a  pair  of 
single-sheaved  blocks  are  fixed,  with  a  halliard 
to  work  the  boom ;  the  lower  block  is  fixed  with 
a  ring  to  a  strong  wire  laid  across  the  deck,  so 
that  it  can  be  moved  to  either  side.  The  top- 
sail yard  is  raised  by  a  halliard  passing  through 
a  single-sheaved  block,  fixed  near  the  top  of  the 
mast.  Two  single-sheaved  blocks  and  halliards 
are  fixed  in  front  of  the  mast,  to  raise  and  lower 
the  fore  and  jib  sails. 

Five  cleats  or  belaying  pins  should  be  fixed 
on  a  rail  at  each  side  of  the  mast,  or  on  the 
inside  of  bulwarks  at  each  side,  and  one  cleat 
should  be  fixed  at  each  side  of  the  bulwarks,  for 
the  jib  sail,  so  that  it  can  be  set  on  either  side. 

The  Sails. — The  sails  are  four  in  number,  viz. , 
mainsail,  gaff  topsail,  foresail,  and  jib.  The 
forms  of  the  sails  can  be  got  from  Fig.  1  ;  they 
are  made  of  strong  calico,  which  should  be  of 
good  quality,  as  an  inferior  material  has  a 
tendency  to  stretch  at  the  edges  ;  it  will  also 
tend  to  obviate  this  if  the  triangular  sails  are 
cut  "  on  the  cross,"  as  it  is  termed.  The  sails 
should  be  neatly  hemmed  all  round. 

The  foresail  is  fixed  to  the  outer  end  of 
bowsprit,  and  is  held  up  at  the  top  by  the 
halliard  ;  small  brass  rings  are  fixed  on  the  top 
edge,  by  which  it  slides  on  the  forestay ;  the 
inner  end  is  fixed  to  a  small  brass  ring,  which 
slides  on  a  strong  wire  fixed  across  the  deck  in 
front  of  the  mast,  so  that  it  can  be  set  to 
either  side. 

The  jib  is  fixed  to  the  outer  end  of  jib-boom, 
and  is  held  at  the  top  by  the  halliard ;  the 
inner  end  has  a  cord  attached  to  it,  which 
can  be  attached  to  a  cleat  on  either  side  of 
bulwarks.  The  mainsail  is  attached  to  the 
gall'  at  the  top,  and  to  the  spanker-boom  at 
the  bottom ;  the  inside  has  six  brass  rings,  1 
inch  diameter,  which  slide  on  the  mast ;  these 
should  be  put  on  the  mast  while  rigging.  The 
gaff  is  raised  and  held  up  by  the  two  halliards, 
and  will  not  require  lashing  to  the  mast,  as  the 
halliards  will  keep  it  in  place. 


The  topsail  is  fixed  to  the  topsail  yard  and  to 
the  gaff,  and  is  held  up  by  the  halliard  ;  all  the 
ends  of  the  halliards  are  made  fast  to  the  cleats 
fixed  at  the  foot  of  the  mast. 

When  the  model  is  not  being  used,  the  sails 
should  be  lowered  and  furled,  to  keep  them 
clean,  and  all  the  rope  ends  fastened  to  the 
cleats. 

The  model  may  be  made  half  the  sizes  given, 
but  will  be  easier  made  full  size,  and  will  be 
more  satisfactory  for  sailing. 


A  FOLDING  TRAY  SHELF. 

BEING  THE  FOURTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD    UTILITY. 

By  ED.  C.  ROE,  Jun.,  Silver  Medalist   of  the  City  and 
Guilds  of  London  Institute. 


LTHOUGH  folding  things  are  seldom 
"things  of  beauty  or  joys  for  ever," 
still  there  are  circumstances  when 
articles  made  to  close  in  a  convenient  manner 
are  very  acceptable,  especially  in  the  present 
day,  when  terrace  houses  are  necessarily  con- 
structed with  narrow  entrance  passages  or 
halls.  It  follows  generally  that  if  the  halls 
be  small,  that  the  landings  on  the  various  floors 
partake  of  the  same  character ;  and  when  this  is 
the  case,  any  useful  fitting  that  can  be  fixed  in 
either  position  will  prove  most  acceptable. 

Under  such  conditions  or,  in  fact,  under  many 
others,  a  useful  fitting  is  the  article  as  described 
by  the  heading,  and  which  we  will  proceed  to 
discuss  from  a  practical  point  of  view. 

Naturally,  circumstances  will  govern  the  size 
to  a  very  great  extent,  and  therefore,  for  the 
purposes  of  illustration  and  description,  it  will 
be  necessary  to  adopt  an'  average  size  shelf. 

The  frame  and  brackets  may  be  of  pine  or 
deal,  the  only  exception  being  the  top  rail, 
which  must  be  of  the  same  material  as  the 
shelf  top  proper.  The  top  is  preferably  made  of 
hard  wood,  mahogany,  walnut,  or  wainscot  oak  ; 
perhaps  the  first-named  is  most  suitable. 

The  drawings  are  made  for  a  shelf  2  feet 
2  inches  long  by  1  foot  2  inches  wide. 


A   FOLDING    TRAY  SHELF. 


221 


ofdovetazUng    A '  |  i  / 


stiles  into 
toprazl 


FJymZ  eleyaXiCTh  -flap  removed  -  Scale  Zui.to  a-  ft. 


Method,  ofdovetcdZinjg  stile  into 
bottom.  txzzZ. 


Our  first  business  is  to  provide  the  material, 
after  having  settled  what  class  to  use.  The 
following  is  a  list  of  pieces  required  for  the 
completion  of  a  shelf  of  the  size  named  :  — 


IfO. 

LENGTH. 

WIDTH. 

THICK. 

TERM. 

1. 

ft.    in. 
2      2 

ft.    iD. 
1      2 

in. 

1 

Top   shelf. 

1. 

1     11 

0     li 

I 

Frame. 

o 

1       1 

o    n 

1 

Frame. 

1. 

6      0 

0     11 

1 

Brackets. 

There  is  one  thing,  above  all,  which  must  be 
attended  to,  namely,  the  perfect  dryness  of  the 
stuff  forming  the  top,  which  if  not  dry  will  be 
liable  to  curl,  and  we  shall  be  put  to  the  trouble 
of  mitre  clamping,  which  is  not  at  all  an  edifying 
job,  especially  to  an  amateur.  If  the  stuff  is 
dry,  we  need  have  little  fear  of  such  things 
taking  place. 


Section,  moulding  on  eotge-fuLL  S'/ze. 

Let  us  take  the  top,  and  plane  up  very  care- 
fully, taking  but  little  off,  as  otherwise  it  will 
not  hold  up  a  sufficient  thickness  ;  but  whatever 
you  do,  get  it  perfectly  straight,  and  out  of 
winding.  Having  shot  the  edges  and  ends 
quite  square  all  ways,  we  require  to  round  the 
two  front  corners  ;  if  the  compasses  are  set  to  a 
2-inch  radius,  the  curve  thus  afforded  will  be 
found  ample,  and  after  so  doing  to  work  the 
moulding  on  ed^e,  as  section  shown  at  c.  This 
must  be  done  with  hollows  and  rounds  ;  but 
the  mode  of  procedure  being  rather  peculiar,  I 


222 


A   FOLDING    TRAY  SHELF. 


consider  that  a  host  of  letter-press  would  not 
enable  one  to  write  in  a  clear  convincing  manner 
the  ways  and  means  of  so  doing. 

However,  I  will  go  as  far  as  is  possible,  or 
useful.  On  the  section  c  are  lines  dotted  which 
indicate  the  stuff  square-edged,  prior  to 
working  Now,  if  we  set  a  plough,  and  with  it 
form  a  rebate,  such  as  is  indicated  by  the  other 
dotted  lines,  this  will  give  us  something  to  work 
to,  and  form  a  guide  for  the  round  when 
working  the  hollow  of  the  ogee.  This  will  doubt- 
less assist  a  little,  but  the  remainder  will  have 
to  be  executed  by  means  of  patience,  close  at- 
tention, and  properly  sharpened  tools. 

However,  to  proceed.  We  shall  require  for  the 
top  rail  of  our  frame  a  piece  off  the  back  edge 
of  shelf  \\  inches  in  width  ;  so  cut  off,  and  shoot 
straight.  Get  the  stuff  for  frame  prepared,  and 
then  proceed  as  follows,  to  dovetail  it  together. 
The  ends  of  the  stiles  are  fixed  in  the  manner 
sketched  at  d  ;  No.  1  being  the  top  rail,  and 
No.  2  the  top  end  of  stile.  The  bottom  ends  of 
stiles  are  made  to  take  the  pins  on  end  of  bottom 
rail,  as  sketched  at  e. 

We  shall  require  for  support,  two  brackets, 
as  shown,  by  2  inches  to  a  foot  scale  elevations 
(Fig.  a).  The  way  of  putting  together  is 
indicated  by  dotted  lines,  -which  show  the  shape 
of  mortises  ;  or  they  may  be  put  together  witliout 
mortising,  being  simply  birds-mouthed  in,  and 
then  screwed.  On  the  ends  of  the  back  piece 
or  post  we  shall  require  to  cut  pins ;  the 
distance  between  the  shoulders  is  10£  inches, 
the  pius  need  be  only  f-inch  long,  and  should 
fit  accurately.  A  good  way  of  doing  this  is 
to  find  the  centre  of  the  stuff,  by  means  of 
diagonal  lines,  and  having  found  it,  take  the 
centre-bit  it  is  intended  to  use  to  bore  the  pin- 
holes, say  §  inch  in  diameter ;  place  the  point 
on  the  centre  mark,  and  give  a  turn  or  so,  thus 
marking  the  stuff  with  the  outer  cutter,  and 
obtaining  the  true  size  of  hole  in  which  the  pin 
shall  ultimately  turn.  The  holes  for  pins 
should  be  cut  in  rails  about  §  inch  from 
inside  of  stiles,  keeping  the  centre  of  hole  not 
less  than  f-inch  from  front  edge.  For  depth, 
|  inch  will  be  sufficient.  Eound  the  back  edge 
of  post,  to  allow  for  turning. 

Having  cleaned  off  the  brackets,  we  are  at 


liberty  to  glue  up  the  frame,  after  inserting 
brackets  in  place. 

Now  for  hanging  the  shelf  to  the  fellow-piece 
which  forms  the  top  rail  :  a  pair  of  2-inch  brass 
pressed  patent  butts  are  just  the  thing,  being 
light  and  strong.  I  will  not  describe  the 
process  of  hanging,  as  we  have  lately  had,  from 
the  pen  of  an  able  writer,  some  papers  on 
hingeing,  etc.,  but  would  only  call  attention  to 
the  necessity  of  keeping  a  close  joint. 

Doubtless  the  query  will  arise,  why  not  use  a 
table  joint  ?  The  answer  is  :  because,  under  the 
circumstances,  the  actual  better  appearance 
does  not  guarantee  the  extra  work,  neither  is  it 
necessary. 

It  now  behoves  the  amateur  to  have  the  top, 
if  of  hard  wood,  nicely  polished ;  and  the  under 
parts  stained  and  polished,  or  cause  to  be  treated 
as  taste  may  dictate. 

With  reference  to  fixing,  the  frame  may  be 
screwed  to  the  walls  by  means  of  screws,  into 
plugs ;  do  not  endeavour  to  nail  it  up,  it 
makes  a  bad  and  unworkmanlike  job.  I  hope, 
when  fixed,  the  shelf  will  bear  good  fruits 
in  return  for  the  labour  expended,  not  to 
mention  other  things  which  doubtless  will  find 
resting-place  thereon. 

My  tale  is  told,  and  thus  I  come  to  the  end  of 
No.  4  of  the  series,  hoping  to  return  with  the 
amateur  to  the  bedroom,  for  the  adornment  of 
which  I  propose  to  devote  No.  5  ;  the  subject 
being  a  "  Wash-hand  Stand." 


To  Transfer  Engravings  on  Glass  for  Magic 
Lantern  Slides.— Coat  the  glass  with  dammar 
varnish,  letting  it  dry  till  it  becomes  quite 
sticky.  It  should  stand  nearly  two  days.  Then 
wet  the  paper  in  soft  water,  and  carefully  lay  it 
on  the  glass,  rubbing  it  with  the  finger  gently 
to  expel  air  bubbles,  the  engraving  side  in  con- 
tact with  the  varnish.  Let  the  paper  dry  for  a 
day,  then  with  the  wetted  finger  rub  off  the 
paper  from  the  back.  The  whole  paper  can  be 
thus  removed,  leaving  the  ink  on  the  varnish. 
Coat  the  glass  with  another  layer  of  varnish, 
which  makes  it  more  transparent,  and  when  dry 
the  slide  is  ready  for  the  lantern. — Scientific 
American. 


A   PORTABLE  PHOTOGRAPHIC  DEVELOPING    CABINET 


223 


A    PORTABLE    PHOTOGRAPHIC 
DEVELOPING  CABINET. 

By   S.    G.    HORTON. 


}  HE  cabinet  which  I  am  about  to 
describe  is  similar  to  one  which  is 
already  on  the  market,  but  the  price 
of  which  is  somewhat  prohibitive  to  those 
amateurs  whose  purses  are  not  well  lined. 
The  general  idea,  as  will  be  seen  from  Fig.  1, 
is  that  of  a  sink  with  shelves  round  it,  and  a 
back,  the  cabinet  proper,  with  various  pigeon- 
holes to  hold  bottles,  etc. ;  while  in  the  centre  is 
a  space  which  can  either  be  utilised  for  a  lantern, 
or  in  which  a  tank  of  water  may  be  placed. 

The  whole  folds  up,  as  shown  in  Fig.  3,  into 
a  space  3  feet  by  2  feet  by  1  foot  6  inches. 

The  following  wood  will  be  required  : — Five 
boards  12  feet  by  9  inches  by  f  inch;  two 
boards,  12  feet  by  9  inches  by  \  inch  ;  a  piece, 
10  feet  by  I  foot  f  inch  by  1  foot  £  inch. 

The  first  portion  to  start  work  upon  will  be 
the  sink.  Make  a  frame  of  f-inch  stuff,  9 
inches  wide,  and  2  feet  9  inches  by  1  foot  10J 
inches  exterior  measurement.  Inside  this, 
screw  a  fillet  of  J-inch  square  stuff  at  5  inches 
from  one  edge,  all  round.  To  this,  screw  a 
bottom  of  stuff  at  5  inches  from  one  edge,  all 
round.  On  this  screw  a  bottom  of  J-inch 
stuff,  and  get  it  lined  on  the  deep  side  with 
the  lightest  lead  (4  lb.),  with  a  1  inch  waste- 
pipe,  and  plug  in  the  bottom  at  the  back,  near 
the  centre.  It  will  be  an  advantage  if  the  sink 
is  made  to  slope  towards  the  waste-pipe.  The 
lead  should  overlap  the  top  edge  by  \-  inch, 
and  be  nailed  thereto.  I  suggest  lead  in 
preference  to  zinc,  which  would  be  lighter, 
because  lead  is  not  so  easily  corroded  by  the 
chemicals. 

While  the  sink  is  being  made,  we  may  pro- 
ceed with  the  back,  or  cabinet  part  of  the 
affair.  Make  another  frame  of  f-inch  stuff,  one 
side  of  which  is  8£  inches  wide,  the  other  side 
4  inches  wide,  and  the  two  ends  4  inches  wide 
for  a  length  of  \1\  inches,  the  remaining 
6^  inches  being  8-i  inches  wide. 

A  shelf  of  f-inch  stuff,  8-J  inches  wide,  should 
be  grooved  into  the  wider  part  of  the  frame  at 


2  inches  from  the  wide  side,  and  two  upright 
partitions  of  f-inch  stuff  grooved  into  this  and 
the  narrow  side,  at  b\  inches  from  the  inside  of 
the  ends.  This  forms  the  space  for  the  lamp  or 
tank  (a,  Fig.  1).  Into  these  partitions  and  the 
ends  are  grooved  the  pieces  of  J-inch  stuff 
forming  the  side  shelves  (b).  These  are  cut  so 
as  to  come  flush  with  the  outside  of  the  wide 
portion  of  the  ends  to  which  they  are  screwed. 
The  shelf  (d)  is  also  grooved  into  the 
partition  and  narrow  part  of  the  ends,  and  the 
small  partitions  (e)  forming  the  pigeon-holes 
are  nailed  in.  These  may  be  made  of  the  shape 
shown  in  Fig.  4,  to  allow  of  the  bottles  being 
more  easily  handled. 

The  back,  of  £-inch  stuff,  may  now  be  glued 
and  screwed  on.  It  is  needless  to  make  it  of 
thicker  stuff,  as  it  is  so  well  supported  by  the 
partitions,  etc. 

The  folding  portions  (f)  may  now  be  made, 
so  as  to  fit  nicely  in  the  recesses  over  b,  as 
shown  on  the  left-hand  side  of  Fig.  1.  The 
partitions  in  these  should  not  reach  the  front 
by  \  inch,  so  as  to  allow  the  folding  shelf  (g)  to 
form  a  front  to  them  when  closed.  The  latter 
rest  on  the  flaps  (h),  and  form  a  convenient  place 
for  measures,  etc. 

The  drawers  (c)  may  now  be  made  to  fit  in 
the  spaces  left  for  them.  They  will  be  3  inches 
deep  outside,  and  should  have  turn-buttons  to 
keep  them  in  place  when  the  cabinet  is  folded 
down  on  the  sink.  The  portion  (k)  which  closes 
the  top  of  the  space  (a)  should  be  clamped  at 
the  ends,  and  two  flush  bolts  let  into  it,  which 
will  shoot  into  the  folding  cupboards  (r)  when 
the  whole  is  closed.  It  is  hinged  to  the  narrow 
side,  as  shown. 

If  the  space  (a)  is  intended  to  be  used  as  a 
lamp  recess,  we  must  fix  a  block  of  wood  in  the 
centre  of  the  shelf  below  it  large  enough  to  take 
the  flange  of  one  of  the  swan-necked  water  taps 
sold  by  several  dealers  in  photographic  goods, 
with  a  hole  in  the  centre  to  lead  the  water 
supply  through.  This  may  either  be  by  an 
elbow  carried  through  the  outside  of  the  cabinet, 
or  by  a  pipe  led  straight  through  the  back ; 
in  either  case,  with  a  union  for  a  rubber  pipe 
for  connection  to  an  existing  tap.  If,  however, 
there  is  no  such  water  supply  handy,  the  best 


224  A   PORTABLE  PHOTOGRAPHIC  DEVELOPING    CABINET. 


FIG.  3. 
Cabinet  dosed, .  Scale 'gin  -  7ft. 


A   PORTABLE  PHOTOGRAPHIC  DEVELOPING    CABINET. 


225 


plan  is  to  have  a  zinc  tank  made  to  fit  into  a, 
and  fasten  the  swan-necked  tap  on  the  front 
of  it. 

We  will  now  suppose  that  the  sink  has  been 
made  within  its  wooden  case.  The  next  part  to 
make  is  the  stand,  or  legs.  These  are  lj  inches 
square,  and  are  fastened  on  in  the  manner 
shown  in  Fig.  2 ;  those  at  each  end  being 
framed  together  with  1^  inches  by  f  inch  battens 
mortised  into  them  at  5  inches  from  the  lower 
ends.  Across  the  top  ends,  on  the  outside,  are 
screwed  similar  battens  at  such  a  distance  from 
the  end,  that  when  the  legs  are  extended,  the 
battens  take  the  chief  part  of  the  weight  of  the 
sink,  by  bearing  the  lower  edge  of  the  frame. 
The  legs  at  one  end  are  28  inches  long,  and  at 
the  other  27 J  inches  ;  a  block  H-  inches  square 


sink,  which  should  be  done  with  strap  hinges 
shaped  like  Fig.  5.  To  support  the  cabinet 
when  open,  a  pair  of  8-inch  brackets,  similar  to 
Fig.  6,  which  drop  into  loops  screwed  on  the 
back  of  sink,  are  required.  The  flaps  are 
secured  in  their  places  when  folded  down  by 
means  of  two  screws  in  each,  which  take  into 
plates  let  into  the  lower  part  of  the  sink  frame. 

The  whole  cabinet  is  secured  for  travelling  by 
iron  straps,  as  shown  in  Fig.  3.  These  should 
be  fastened  by  screws  passing  into  plates  let 
into  the  back  of  the  cabinet  over  the  partitions, 
and  on  the  edge  of  the  sink  frame  below. 

We  now  require  a  couple  of  gratings,  6  inches 
wide,  to  fit  in  at  each  end  of  the  sink,  and  to 
come  to  within  1  inch  of  the  top  edge,  on  which 
one  can  place  developing  dishes. 


m 


FIG.  2. — SCALE    l£"  TO    i'.       (DETAILS   OF  LEGS,    ETC.) 


? --.-y^^-^-^.^?^  j-jj  ,  jjjj^. 


T 


nrn 


tt 


Y*-*j 


ni — m 


being  screwed  in  to  each  of  the  corners,  to  hinge 
the  shorter  legs  on  ;  the  long  legs  being  hinged 
on  the  ^-inch  sink  bottom,  which  is,  however, 
relieved  from  strain  by  the  battens.  The  legs 
are  kept  in  position  when  open  by  a  grating,  as 
shown  in  Fig.  1,  which  rests  on  the  lower 
battens,  and  fits  tight  between  the  four  legs. 
This  also  forms  a  cover  for  the  recess  in  which 
the  legs  fold. 

Along  the  top  edge  of  front  and  ends  of  the 
sink  are  screwed  fillets  |  inch  square,  on  which 
the  side  and  front  flaps  are  hinged.  These 
should  be  9  inches  wide  by  f  inch  thick, 
clamped  at  the  ends.  They  are  kept  open  by 
the  hinged  brackets  shown  on  right-hand  side 
of  Fig.  2.  As  these  cannot  reach  the  flaps  by 
|  inch,  on  account  of  the  fillet,  clamps  of  that 
thickness  are  screwed  across  below  the  flaps 
for  them  to  take  a  bearing  on.  These  should 
be  placed  in  such  a  position  that  when  folded 
down  they  clear  the  brackets. 

We  now  have  to  hinge  the   cabinet  to  the 


Now  as  to  the  bottles  to  fit  in  the  pigeon- 
holes. I  procured,  through  a  friendly  chemist, 
a  dozen  glass  -  stoppered  bottles  known  as 
"  12-ounce  shop  rounds."  These  occupy  the 
pigeon-holes  in  the  "  wings,"  and  contain  10 
per  cent,  solutions  of  the  more  largely  used 
chemicals,  while  the  other  spaces  contain  8-ounce 
cork- stoppered  bottles,  for  dry  chemicals. 

In  the  drawers  are  kept  scales  and  weights, 
and  such  notes  on  special  developers  which  are 
issued  with  various  makers'  plates.  The  bottom 
shelf  serves  to  hold  the  various  dishes,  while 
the  grating  forming  the  leg  stay  is  a  draining- 
rack.  A  length  of  1-inch  rubber  tubing  is 
required  as  a  waste-pipe,  to  lead  into  any 
suitable  receptacle,  and  such  tubing  as  may 
be  required  to  connect  the  tap  to  any  available 
source  of  water  supply.  The  whole  of  the 
interior  is  now  sized  and  varnished  with  white 
hard  varnish,  and  the  exterior  varnished  or 
painted  with  one  of  the  many  enamels  now  on 
the  market. 

vol.  in.  (n.s.) — T 


226 


MODEL  RAILWAY  BUILDING. 


Before    concluding,  I  may  as  well  give    the 
cost  of  the  materials,  as  far  as  I  can  remember. 
Wood,  14s. ;  tap,  etc.,  13s.  lOd. ;  hinges,  6s.  6d. 
varnish,  etc.,  4s.;  enamel,  Is.  9d. ;  bottles,  19s. 
screws,  etc.,  Is.  6d. ;  brackets,  3s. ;  straps,  3s. 
total,  £3    6s.  7d.      I  find  the  above  cabinet  a 
most  useful  adjunct  to  the  dark  room,  and  the 
making  of  it  was  a  capital  task  in  carpentry. 


MODEL    RAILWAY    BUILDING. 

(PEEMANENT    WAY.) 
By  W.  E.  J.  GAWTHORP. 


III. — Signals — Accessories— Conclusion. 
AVING  now  laid  the  whole  of  the  per- 
manent way,  it  is  necessary  to  arrange 
the  signals  to  regulate  the  traffic.    As 
we  have  not  drawn  up  any  special  plan  of  lines, 
we  cannot  indicate  the  exact  spots  in  which  to 
place  the  semaphores,  but  must  be  content  with 
a  few  general  remarks.     It  has  already  been 
pointed  out   that  the  "home"  signal    is  very 
often  preceded  by  a  "distant"  signal,  but  it  is 
probable   that   the   amateur's  line  is   not  long 
enough  to  allow  sufficient  room  for  more  than 
the   home   signals.      Distant    signals    may    be 
placed  on   the   post  of  a  home  signal  having 
reference  to  the  next  home  signal,  thus  econo- 
mising space  and  posts.     Every  distant  signal 
should    be    connected   with   its    relative  home 
signal,  so   that  when  the  home  signal  falls  or 
rises,  the  distant  signal  works  accurately  with 
it.     All  the  signals  may  be  worked  by  means  of 
strong  threads,  running  to  levers   in  the  same 
way    as    the    shunt    wires.     The  posts   should 
generally  be  placed  at  the  entrance  to  and  exit 
from  stations,  on  either  side  of  the  line  as  may 
be  convenient,  and  may  carry  arms  referring  to 
either  line,  placed  according  to  the  invariable 
rule  that  the  arms  affecting  the  progress  of  the 
train  are   on  the  left  side  of  the  post  viewed 
from    the   position   of    the   advancing    engine- 
driver.     The  shape  of  signals  varies  on  different 
railways,    but  the  illustrations  given  herewith 
are  the  simplest  and  probably  most  often  used 
forms.      On    many   railways,    complicated   sets 
with  many  arms  on  one  post  are  being  done 


away  with,  and  the  more  simple  forms  substi- 
tuted. Fig.  12  represents  a  semaphore  (front 
and  edge  views)  that  may  be  placed  in  such  a 
position  as  x  in  Fig.  8,  and  will  serve  as  a 
general  example. 

The  view  of  the  illustration  is  such  as  would 
be  seen  by  the  driver  of   a  train  proceeding  on 
the  line  a  b  from  a  towards  b,  but  not  having 
reached  the  spot  x.    He  would  see  that  the  arm 
No.  1  is  painted  red  with  a  white  spot  (while  on 
the  other  side,   which  he  could  not   see,  it  is 
painted  white  with   a  black  cross-line),  and  he 
would  also  see  that  the  other  three  are  painted 
white  with  black  cross-lines   (the  unseen  sides 
being  red  with  white  dots).      The  only  arm  he 
will  take   notice   of   will  be   that   on  his    left 
of  the  post,  showing   him   a   red   face  (No.  1). 
In  our    illustration    this    is    down,    or    "off," 
so    that     he    will    steam    past    the    post     in 
safety ;  but  he  would  also  know  that  a  train  was 
signalled  on  the  next  line,  not  only  to  pass  this 
post,  but  the  next  one  too.     To  understand  this, 
we  must  suppose  ourselves  on  the  other  side  of 
the  post,  travelling  on  the  line  d  c  from  d,  or  on 
the  line  b  a  from  b.     The  latter  case  could  only 
be  outside  a  terminus  where  trains  start  from 
either  line,  as  excepting  in  such  a  position  no 
train   would   be  allowed  to  travel   the  reverse 
way  of   the  lines.     For  instance,  a  train  would 
not  travel  from  b  to  a,  but  it  might  do  so  from  b 
to   c,  in  which  case  the  arm   No.  2  would  be 
consulted,  and  it  is  at  once  evident  that  arms 
No.  1   and  No.  2  cannot  be  both  down  at  the 
same  moment,  or  the  two  trains  would  collide ; 
neither  can  Nos.  2  and  3  be  both  off  together,  or 
the   trains  would  run   together  on  the   points. 
Only  when  No.  2  is  down  must  the   shunt  be 
open  so  that   a  train  may  travel  from   B  to  c. 
Now  suppose  we  are  travelling  from  d  to  c,  we 
notice  that  both  Nos.  3  and  4  (of  which  we  see 
the  red  sides)  are  down  ;  therefore  by  No.  3  we 
pass  the  post,  and  by  No.  4  we  know  that  the 
next  signal  is  also  off,  even  though  we  cannot 
see   it.      Notice   here   that    the    distant   signal 
No.  4  is  distinguished  by  a  notch  in   the  end, 
and  also  that  it  may  be   used  in   conjunction 
with  either  Nos.  2  or  3,  because  it  relates  to  one 
arm  on  the  next  post. 

By   this   example    it   will   be   seen  that   the 


MODEL  RAILWAY  BUILDING. 


227 


driver  only  notices  those  arms  showing  him  a 
red  face,  and  that  those  are  always  placed  on 
his  left  of  their  respective  uprights.  In  the 
illustration,  arm  No.  2,  referring  to  the  shunt 
from  b  to  c,  would  be  better  placed  on  another 
post  about  the  position  of  letter  b,  so  that  a 
train  would  be  stopped  by  it  before  reaching  the 
points. 

The  arms  may  be  cut  out  of  thin  brass  or  iron, 
or  strong  tin  or  zinc,  so  as  to  be  stronger  and 
heavier  than  wooden  ones.  The  posts  should 
consist  of  square  wood,  the  principal  upright 
being  stouter  than  the  upper  portions,  while  the 
cross-bar,  where  there  is  one,  should  be  wide 
enough  for  the  signalman  to  walk  along  between 
the  upper  posts  in  order  to  get  at  and  light  the 
lamps,  and  there  should  be  a  light  wire  rail  on 
either  side.  The  position  of  the  ladder  by 
which  the  signalman  mounts  is  shown  in  the 
side  view,  but  omitted  in  the  front  view  to  avoid 
confusion  of  lines ;  this  may  be  made  of  two 
square  strips  of  wood,  with  wire  "rungs" 
placed  across  at  regular  intervals.  A  couple  of 
wire  brackets  should  be  placed  under  the  cross- 
bar, in  order  to  strengthen  it.  Copper  wire  will 
be  found  the  best,  and  most  easy  to  bend.  The 
arms  should  be  let  into  the  posts,  and  pinned 
through  as  in  Fig.  13,  which  shows  in  section 
the  two  arms  Nos.  1  and  2  pinned  through  and 
working  on  one  pivot.  The  back  end  is  to  pro- 
ject through  the  post  slightly  as  in  Fig.  14,  and 
to  a  small  hole  in  its  end  a  strong  thread  is  con- 
nected for  working  purposes.  When  the  arms 
are  unattached,  they  must  drop  by  their  own 
weight  to  an  angle  of  45  degrees  (half  a  right 
angle),  but  real  signals  have  to  be  made  so  that 
if  by  any  chance  they  become  disconnected  from 
the  levers,  they  automatically  rise  to  the  position 
of  danger.  To  accomplish  this,  have  as  many 
small  weighted  balances  (Fig.  15)  as  there  are 
arms,  and  pin  them  on  to  the  foot  of  the  post, 
leaving  room  between  each  to  work  in  exactly 
the  same  way  as  the  arms,  only  allowing  for 
them  to  rise  when  pulled  instead  of  falling. 
Each  must  have  a  small  hole  at  the  light  end, 
and  another  at  the  same  distance  from  the  pivot 
pin,  but  between  that  and  the  weight  attach  a 
thread  from  the  end  of  the  arm  to  the  balance- 
weight  with  a  corresponding  number,  fastening 


the  thread  to  the  hole  nearest  to  the  weighted 
end.  (See  dotted  lines  in  Fig.  12.)  Put  a  pin- 
head  into  the  post,  so  that  the  weight  rests  upon 
it  when  at  a  right  angle  to  the  post  (as  No.  2) ; 
then  the  length  of  the  thread  must  be  such  that 
in  this  position  the  weight  pulls  the  arm  up 
also  at  right  angles  to  its  post  (as  No.  2).  In 
the  illustration  two  weights  are  fixed  on  each 
side  of  the  post,  thereby  allowing  room  for  the 
threads  to  work  freely.  Thus  it  is  clear  that 
the  weights  naturally  keep  the  arms  up  until,  by 
pulling  down  the  short  ends  of  the  balances,  and 
thus  lifting  up  the  weights,  the  pull  is  taken  off 
the  arms,  and  they  fall  of  their  own  weight. 
Now  attach  to  the  hole  in  the  short  projecting 
end  a  thread  passing  from  the  balance  through 
a  loop  on  the  ground  board,  running  along  the 
board  to  the  signal  lever,  wherever  placed. 

In  so  small  a  model  it  would  be  hardly  pos- 
sible to  make  working  lamps  for  the  signals, 
but  the  position  of  them  is  shown  in  Fig.  12; 
that  is,  just  below  the  corresponding  arm  on  the 
opposite  side  of  the  post,  and  within  reach  of  a 
man  walking  on  the  horizontal  beam.  One  lamp 
answers  for  arms  in  the  position  of  Nos.  1  and 
2,  and  therefore  it  is  made  to  show  a  light  each 
way,  and  each  face  is  provided  with  a  pair  of 
coloured  glasses  working  in  connection  with  the 
corresponding  arm.  These  glasses  (omitted  for 
sake  of  clearness  in  Fig.  12)  are  so  arranged 
that  when  the  arm  falls  a  green  glass  covers  the 
bulls-eye  of  the  lamp  on  the  side  working  with 
that  arm,  and  a  red  glass  when  the  arm  remains 
up.  The  lamps  for  arms  Nos.  3  and  4  have  only 
one  face,  each  provided  with  one  pair  of  coloured 
glasses  or  "spectacles."  Without  further  ex- 
planation, Fig.  16  will  suffice  to  illustrate  the 
front  view  of  the  spectacles,  and  side  views  of 
the  same  with  lamp  in  position,  remembering 
that  the  spectacles  move  up  and  down  with  the 
arm,  and  the  lamp  is  a  fixture  to  the  post. 

Leaving  the  building  of  locomotives  (without 
motive  power)  and  rolling-stock  generally  to  a 
possible  future  article,  we  will  close  the  present 
with  a  few  remarks  upon  various  accessories  that 
may  or  may  not  be  considered  necessary,  and 
that  may  also  be  left  largely  to  the  fancy  and 
ingenuity  of  the  reader. 

Turntables  for  engines  may  be  placed  at  the 


228 


MODEL  RAILWAY  BUILDING. 


ends  of  the  lines  where  two  or  three  converge,  so 
as  to  be  accessible  from  the  turntable,  or  a  spur 
line  and  shunt  may  be  added  which  leads  to  a 
turntable,  as  in  Fig.  3.  Fig.  7,  turning  on  a 
pivot  or  pin  in  the  central  sleeper,  will  do  very 
well  for  a  central  turntable.      Of  course,  this 


upon  a  short  upright  working  on  a  pivot  with  a 
quadrant  (like  Fig.  11)  attached  to  the  foot  of 
the  revolving  portion.  A  balance  weight  on  a 
short  post,  working  like  the  signal  weights,  with 
a  cord  through  a  loop  in  the  ground,  and  fixed 
to  one  end  of  the  quadrant,  will  serve  to  pull  the 


fl/\ 

/\ 

[ 

c 

might  be  much  improved  by  being  fixed  upon  a 
circular  plate  turned  by  a  cog-wheel  out  of  an 
old  clock,  or  by  a  band  round  its  central  pivot, 
and  a^corresponding  reel  with  a  handle  to  it. 

As  the  signals  are  not  used  for  shunting  pur- 
poses, it  is  usual  to  place  at  each  point  where 
shunting  may  be  carried  on  a  revolving  lamp 
having  a  red  light  on  one  side  and  a  green 
light  on  the  next  side  of  a  square.     This  is  set 


lamp  always  back  to  position,  so  as  to  show  the 
driver  a  red  light,  while  a  cord  from  the  other 
end  of  the  quadrant  to  a  lever  will  pull  round 
the  green  light,  and  raise  the  weight  at  the  same 
time  ;  when  the  weight  is  allowed  to  fall,  it  will 
bring  back  the  red  light. 

The  levers  for  either  shunts  or  signals  should 
be  strong  strips  of  metal  or  wood  between  two 
segments  of  circles  of  metal  or  wood,  similar  to 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


229 


Pig.  1 7.  By  this  illustration  it  will  be  seen  that 
a  lever  working  on  a  pivot  a — a  between  the 
side  pieces  can  be  pulled  forward  to  the  position 
in  the  figure,  so  as  to  draw  the  cord  or  wire  in 
the  opposite  direction ;  then  by  slipping  a  pin  (s) 
through  a  hole  behind  the  lever,  the  latter  may 
be  held  in  position  as  long  as  required. 

Buffers,  with  or  without  springs,  should  be 
fitted  at  the  ends  of  all  lines  which  do  not  end 
on  turntables.  The  form  of  these  may  be  left 
to  the  imagination  of  the  worker,  only  reminding 
him  that  they  must  exactly  meet  and  fit  the 
buffers  on  the  rolling-stock.  Bits  of  round 
india-rubber  stuck  upon  a  block  of  wood  answer 
the  purpose  admirably. 

A  whole  article  might  be  devoted  to  stations ; 
but  we  will  desist,  leaving  the  amateur  to  be  con- 
tented with  a  narrow  slip  of  board  on  each  side 
of  the  rails,  or  to  work  out  for  himself  an 
elaborate  terminus  with  arched  roof,  numerous 
platforms  connected  at  the  ends  by  a  broad 
cross-piece,  and  fitted  with  offices  and  rooms 
decorated  with  windows  and  doors,  or  an  inter- 
mediate station  with  covered  footbridge  across 
the  lines.  The  chief  objection  to  the  erection  of 
covered  stations,  bridges,  etc.,  is  that  they  are 
much  in  the  way  of  children's  fingers  when 
manipulating  the  trains,  thereby  preventing 
the  whole  from  fulfilling  the  purpose  it  should 
serve,  namely,  of  forming  an  endless  amusement 
to  the  young  people. 

And  now,  hoping  the  amateur  who  has  fol- 
lowed us  thus  far  will  be  able  to  turn  out  a 
creditable  model,  we  have  only  to  add  that  we 
shall  be  pleased  to  endeavour  to  explain  away 
any  difficulties  that  may  arise  to  anyone  who 
may  apply  to  us  through  the  Editor. 


HOW    TO    MAKE-UP    FOR 
THE    STAGE. 

By  PROFESSOR  LIONEL  ARTHUR. 

X.— National  Types  (continued)— Chinese,  Japanese, 
Egyptians,  Arabs,  Persians,  Hindoos.  Negroes, 
American  Indians— Other  Characters,  Clowns, 
Pantaloons,  Statuary,  Jews. 

Chinese. — The     complexion     colour     of     the 

Chinese  is  a  brownish  or  tanned  yellow.     They 

are  of  medium  stature,  and  have  small   hands 


and  feet.  The  face,  of  a  flat  nature,  has  high 
and  prominent  cheek-bones,  whilst  the  nose  is 
rather  undersized,  but  with  very  wide  nostrils. 
The  eyes  are  of  an  oblique  position  of 
"almond"  shape,  slanting  downwards  towards 
the  nose.  The  eyebrows  have  an  abundance  of 
thick,  black,  straight  hair,  but  there  is  very 
little  other  hair  about  the  face  of  a  Chinese. 
For  a  "powder"  make-up  proceed  as  fol- 
lows : — With  a  stick  of  joining  paste,  or  light 
flesh  colour,  give  the  eyebrows  a  good  coating, 
and  then  press  and  rub  them  down  with  the 
forefinger  firmly  and  smoothly  until  they  are 
next  to  invisible.  The  wig  is  next  adjusted  ; 
this,  of  course,  consists  of  a  skull-cap,  properly 
coloured,  with  a  pigtail.  A  powder  is  next 
made  up,  consisting  of  \  ounce  mongolian  and 
lj  ounces  powdered  pure  Dutch  pink  (yellow) ; 
and  this  is  applied  to  the  face,  neck,  and  hands 
with  the  hare's-foot,  great  care  being  exercised 
in  hiding  the  joiu  of  the  skull-cap  with  the  fore- 
head, and  matching  the  colour  on  the  cap  to 
that  of  the  face  with  some  powder.  To  give  the 
effect  of  "almond"  shaped  eyes,  the  outside 
corners  of  the  lids  must  be  painted  white  in 
order  to  lengthen  the  eye,  and  under  this  a  dark 
line  going  upwards  and  outwards,  to  represent 
the  lashes.  The  bellows  of  the  nostrils  must 
also  be  enlarged  in  the  usual  way.  The  hollow 
in  the  centre  of  face,  just  over  the  upper  lip, 
must  be  slightly  shaded  with  a  little  brown 
umber  ;  and  lastly,  the  false  eyebrows  must  be 
fixed  in  a  slanting  position,  following,  of  course, 
the  direction  of  the  eyes,  but  placed  some  dis- 
tance away  from  them. 

Fox's  Grease  Paints. — Complexion:  No.  5 J, 
high  lights  on  cheek-bones.  Hair :  black , 
straight.  Powder:  fuller's  earth  for  toning 
down. 

Japanese. — These  are  most  interesting  people, 
"  on  the  stage  and  off."  They  also  are  of  a 
yellow  complexion,  with  small,  oblong  eyes 
sunk  deep  into  the  head,  and  in  colour  black  or 
dark  brown.  The  eyelids  form  in  the  great 
angle  of  the  eye  a  deep  furrow,  which  makes 
them  appear  as  if  very  sharp-sighted  ;  the  eye- 
brows are  also  placed  higher.  The  head  is 
generally  large,  and  neck  short.  The  hair  is 
black  and  short,  and  the  nose  rather  short  and 


230 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


thick.  For  a  powder  make-up  proceed  as 
directed  for  Chinese,  merely  altering  the  shade 
of  the  powder  as  required,  and  giving  pro- 
minence to  all  the  features  enumerated  above. 

Fox's  Colours. — Complexion  :  No.  6£.  Hair  : 
black.    Powder  :  for  toning  down,  fuller's  earth. 

Egyptians. — There  are  three  different  types  of 
Egyptians  :  the  Ethiopians,  the  Indian,  and  the 
Berbel.  The  Ethiopians  are  distinguished  by  a 
prominent  jaw,  a  thick  lip,  a  broad,  flat  nose, 
and  protruding  eyes.  The  complexion  is  almost 
black,  and  the  hair  woolly. 

TJie  Indians.—  The  nose  is  long  and  narrow; 
the  eyelids  are  thin,  long,  and  slanting  obliquely 
from  the  top  of  the  nose  towards  the  temples ; 
the  ears  are  set  high  in  the  head  ;  the  body  short 
and  slight,  and  the  legs  very  long.  The  Berbel 
type  is  the  modern  race.  They  have  a  broad 
forehead,  a  rounded  chin,  full  cheeks,  a  straight 
nose  with  strongly  curved  nostrils,  large  brown 
eyes,  a  narrow  mouth  with  thick  lips  and  white 
teeth,  high  projecting  ears,  and  extremely  black 
beards  and  eyebrows.  •  The  colour  of  the  skin  is 
a  dull  red,  and  the  hair  is  black  and  generally 
curly. 

Fox's  Grease  Colours. — Complexion:  No.  10, 
heightened  according  to  type.  Hair:  black, 
generally  long  and  curled  among  the  ancient 
tribes.    Powder  :  for  toning  down,  fuller's  earth. 

The  Arabs  are  characterised  by  long  face, 
with  a  high  shaped  head,  an  aquiline  nose 
nearly  in  a  line  with  the  forehead,  a  retreating 
and  small  mouth,  and  a  deep  black  long  bushy 
beard.  Their  complexion  displays  great  diver- 
sities of  colour  in  the  different  countries 
inhabited  by  them,  ranging  as  it  does  from 
black  to  yellow  ;  there  are  many,  however,  as 
fair  as  the  Europeans  of  the  more  northern 
countries.  The  black  tribes  differ  from  the 
negroes  in  not  having  woolly  hair. 

Fox's  Colours. — Complexion:  No.  10,  lightened 
or  darkened  as  necessary.  Hair :  black,  gener- 
ally of  moderate  length.  Powder :  brown  or 
fuller's  earth. 

TJie  Persians  possess  great  regularity  of 
features,  an  oval  countenance,  luxuriant  hair, 
large  and  well-defined  eyebrows,  and  that  soft 
dark  eye  held  in  such  high  estimation  in  the 
East. 


Fox's  Colours. — Complexion:  Nos.  5  and  10. 
Hair  :  black  ;  moustache  and  beard  generally 
worn. 

The  Hindoos  have  small  hands  and  feet,  a  high 
forehead,  black  eyes,  well-arched  eyebrows,  fine 
bright  black  hair,  a  more  or  less  brown  skin, 
which  in  the  south  of  India  and  the  lower 
classes  is  almost  black ;  among  the  higher 
classes,  however,  the  skin  will  be  found  much 
fairer.  There  is  plenty  of  hair  generally  seen 
upon  the  face,  and  the  beard  is  frequently 
brushed  to  each  side  from  a  centre  parting. 

Fox's  Colours. — Complexion :  No.  10,  with  a 
little  of  No.  5.  Hair :  black.  Powder :  light 
brown,  or  fuller's  earth. 

American  Indians. — The  races  which  inhabit 
America  approach  very  closely  to  the  yellow 
race  belonging  to  Asia  in  their  hair,  which  is 
black,  rough  and  coarse  ;  in  the  scarceness  of 
their  beard ;  and  in  their  complexion,  which 
varies  from  yellow  to  a  red  copper  colour. 
Among  one  portion  of  them  the  very  prominent 
nose  and  large  open  eyes  recall  to  mind  the 
white  race.  (See  Louis  Figuier,  in  "The 
Human  Race.")  The  nations  of  the  southern 
branch  of  the  red  race  resemble  the  yellow  race 
more  closely  than  those  of  the  northern.  Tbeir 
complexion,  which  is  often  yellowish  or  olive,  is 
never  so  red  as  that  of  the  northern  Indians  ; 
their  noses  are  not  so  prominent,  and  they  fre- 
quently have  oblique  eyes.  In  making  up  for 
these  characters,  a  preparation  called  mongolian 
is  often  used  to  give  the  necessary  colour  to  the 
skin.  Some  actors  mix  the  mongolian  with  a 
little  beer,  and  apply  to  the  face  with  a  sponge, 
adding  thereto,  when  dry,  a  strong  colouring  of 
carmine  on  the  cheek  bones,  etc.  A  line  beneath 
the  lower  eyelashes  is  then  painted  in  with  some 
Indian  ink ;  or  the  mongolian  may  be  mixed 
with  cold  cream,  which  makes  it  much  easier  to 
wash  off.  The  eyebrows  must  be  made  heavy 
and  black,  and  the  hands  coloured  to  match, 
and  a  wig  of  long  straight  black  hair  worn.  If 
the  war-paint  is  to  be  put  on,  then  the  face 
must  be  tattooed  with  red,  blue,  and  white, 
or  yellow,  according  to  the  fancy  and  taste  of 
the  artist. 

Fox's  Grease  Paints. — No.  8  is  mixed  with 
No.    5.      Hair  :    black,  long,    straight,  coarse, 


HOW  TO  MAKE-UP    FOR    THE   STAGE. 


231 


eomiDg  down  very  low  on  each  side  of  the  fore- 
head. 

Negroes.  — This  make-up  is  in  great  demand, 
owing  to  the  large  number  of  amateur  minstrel 
troupes  now  in  existence.  Prepared  burnt  cork 
is  generally  used  to  blacken  the  face  for  these 
characters,  the  lips  being  made  larger  by  paint- 
ing round  the  mouth  with  red  paint.  The  burnt 
cork  should  be  powdered  up,  and  mixed  with 
ordinary  cold  cream  or,  better  still,  vaseline, 
and  applied  to  the  face.  Apply  carmine  to  the 
cheeks  and  round  the  eyes.  Negroes  have  pro- 
truding lips,  a  low  forehead,  projecting  teeth, 
woolly  and  half-frizzled  hair,  thin  beard,  broad 
flat  nose,  retreating  chin,  and  round  eyes.  If  a 
moustache  or  beard  is  worn,  they  should  be  very 
short  and  coarse,  with  very  little  whiskers,  as 
the  hair  grows  but  slightly  on  the  cheeks. 

Fox's  Grease  Taints. — No.  10,  mixed  with 
black.  Hair :  black,  short,  crisply  curled,  and 
coarse. 

I  think  I  have  now  given  directions  for 
making-up  most  of  those  types  of  mankind 
usually  portrayed  upon  the  stage  ;  so  will  now 
treat  upon  some  of  the  other  class  of  characters, 
commencing  with 

Clowns. — The  face  of  a  clown  is  covered  with 
prepared  whiting,  which  can  be  had  from 
S.  French,  89,  Strand,  or  of  C.  H.  Fox.  In 
making  the  face  up,  the  hair  should  be  well 
brushed  back  out  of  the  way,  and  a  skull-cap 
put  on.  A  small  portion  of  the  whiting  is  then 
taken  up  on  the  tip  of  the  finger,  and  worked 
round  the  mouth  and  eyes,  over  the  eyelids,  and 
well  into  the  ears,  taking  care  that  every  crevice 
is  well  covered.  A  larger  quantity  of  whiting 
is  then  taken  in  the  palm  of  the  hand,  and  well 
rubbed  in  all  over  the  face,  throat  and  neck,  and 
the  whole  is  then  carefully  examined  to  see  if 
every  part  is  well  and  evenly  covered.  The 
plain  skull-cap,  which  has  protected  the  hair 
from  the  powder,  should  now  be  removed,  and 
the  clown's  wig  adjusted,  and  the  joint  carefully 
whitened  in  order  to  hide  it.  The  eyebrows  are 
well  rubbed  with  black  grease  paint,  and  the 
red  patches  on  the  face,  and  the  red  round  the 
mouth,  is  put  on  with  grenadine ;  all  this  being 
left  to  the  fancy  of  the  artist,  crescents  and  stars 
being  perhaps   the   most  popular   designs.     A 


pantaloon's  complexion  is  the  same  as  a 
clown's,  but  is  lined  with  blue  or  brown.  A 
white  wig  is  worn,  and  the  usual  pantaloon 
beard. 

Statuary. — There  are  many  pieces  where  actors 
have  to  make-up  as  statues,  such  as  ' '  Pygmalion 
and  Galatea,"  "  The  Marble  Heart,"  "  Hercules, 
King  of  Clubs,"  etc.,  etc.  The  face,  neck,  arms, 
etc.,  should  be  well  covered  with  Blanc  dePerles, 
and  afterwards  powdered  with  pure  oxide  of 
zinc,  dabbed  on  with  a  piece  of  soft  flannel 
shaped  into  a  pad.  A  fine  line  should  be  placed 
immediately  beneath  the  lower  eyelashes,  in 
order  to  give  expression  to  the  eyes  whilst 
speaking.  The  eyebrows  must  be  painted  white 
with  white  grease  paint,  and  to  throw  them  out 
a  little  put  a  faint  shadow  of  blue  just  above 
and  below  them.  For  "  Galatea  "  the  ordinary 
hair  is  worn  dressed  Grecian  fashion  ;  but  for 
the  three  statues  in  "  The  Marble  Heart " 
white  "  marble"  wigs  must  be  worn,  and  if  a 
moustache  or  beard  is  required,  it  must  be  made 
of  the  same  material.  Statues  are  often  required 
in  tableaux  vivants,  etc. 

Jews. — These  are  favourite  characters  with 
most  low  comedians,  and  in  these  there  is,  of 
course,  plenty  of  scope  for  an  effective  make-up. 
For  a  powder  make-up  we  proceed  as  follows  : — 
Powder  the  face,  neck,  etc.,  with  prepared 
fuller's  earth,  and  apply  a  faint  colouring  of 
Dutch  pink,  afterwards  heightening  the  effect 
with  a  little  rouge  on  the  cheeks.  The  usual 
lines  are  then  put  in,  and  the  wig  adjusted, 
taking  pains  to  join  it  well  with  joining  paste, 
and  toning  down  with  fuller's  earth.  The  eye- 
brows should  be  bushy  and  heavy.  The  nose, 
however,  is  the  great  thing  in  these  characters, 
as  we  have  to  give  it  the  "  hooked  "  appearance 
so  characteristic  of  the  race.  To  do  this,  shade 
the  portion  in  between  the  eyes  and  just  over 
the  bridge  with  some  burnt  umber  or  brown 
grease  paint,  and  in  the  same  way  enlarge  the 
nostrils.  If  preferable,  especially  for  very  comic 
parts,  a  false  nose  may  be  put  on  with  nose 
paste  or  cotton  wool.  These  characters  should 
not  be  overdone,  as  they  frequently  are,  even  by 
experienced  professionals.  In  making-up  for  a 
Jewish  character,  it  must  first  be  ascertained  to 
what  country  the  Jew  belongs,  for  it  must  be 


232 


EASY  CONSTRUCTION  OF  AN  ARCHITECTURAL 


remembered  that  the  Jews  have  assimilated  in 
physical  character  to  the  nations  among  whom 
they  have  long  resided,  although  they  are  still 
to  be  recognised  by  some  minute  peculiarities  of 
physiognomy.  In  the  northern  countries  of 
Europe,  for  instance,  they  are  fair  with  blue 
eyes.  Flaxen  hair  is  also  seen  in  English  Jews, 
and  in  Germany  red  beards  may  frequently  be 
seen  upon  a  Jewish  face.  The  stage  Jew,  how- 
ever, is  almost  always  made  up  dark  ;  why,  it  is 
hard  to  say. 

Fox's  Grease  Paints. — Complexion :  No.  2\  and 
10,  high  lights  on  cheek  bones,  and  on  bridge  of 
nose:  Lips :  rather  full.  Hair :  dark  brown 
or  black ;  beard  and  moustache.  Powder : 
fuller's  earth.  Nose  paste  or  cotton  wool  may 
be  used  for  false  noses,  which  can  be  moulded 
into  any  shape  desired. 


EASY  CONSTRUCTION  OF  AN 
ARCHITECTURAL  HALL  CHAIR 
IN  ASH  OR  OAK. 

PEIZE  PAPER   IN    COMPETITION  No.  I. 
By  W.  H.  BRADBURNE. 


OSHE  hall  chair,  of  which  the  sketches 
6how  a  front  and  side  elevation,  has 
the  great  advantage  of  being  readily 
constructed,  and  subsequently  put  together. 
The  writer  has  just  completed  one  in  ash  ;  and 
as  it  is  universally  appreciated,  particulars  are 
now  given,  in  the  hope  of  other  brother 
amateurs  taking  up  the  work.  Chairs,  as  a 
class  of  carpentry,  are  not  the  easiest  items  of 
furniture  for  the  limited  knowledge,  practice, 
and  resources  of  the  amateur  workshop.  The 
one  now,  however,  under  consideration,  avoids 
the  difficult  "dowel"  joints  peculiar  to  the 
"professionally"  made  chair;  whilst  the  design 
is  not  of  the  commonest,  having  been  specially 
sketched  for  the  writer  by  a  clever  architect,  of 
known  taste  and  practice.  The  wood  chosen 
may  be  either  oak  or  ash ;  the  former  is,  of 
course,  the  better,  but  unless  the  amateur 
worker  does  not  obj  ect  to  rather  severe  physical 
labour,  he  had  better   avoid  such   hard   wood, 


KIG.    3. 


since  the  curves  and  stop  chamfering  are  more 
tedious  to  work  than  straight  lines.  The  piece 
of  furniture  will  look  equally  well  in  ash — 
that  is  foreign,  not  English  ash,  and  this  wood 
is  fairly  easy  to  cut  with  a  sweep  saw,  and  to 
subsequently  finish.  The  last  -  named  wood 
does  not,  however,  lend  itself  to  any  "finish" 
to  the  work  in  carving,  owing  to  its  open 
cellular  tissue,  which  is  rough  in  the  cross- 
cutting,  even  with  a  sharply- 
ground  and  keenly  -  set 
plane.  The  ash  should  be 
chosen  in  a  single  board, 
1  inch  (saw-mill)  thickness, 
not  in  two  or  more  scrap 
pieces,  which  would,  in  all  probability,  show 
varying  shades  in  colour. 

The  width  of  the  seat  is  18  inches,  depth  from 
front  to  back  17  inches,  and  18  inches  also  in 
height  from  the  ground  ;  the  width  of  the  cross 
piece  supporting  the  back  of  the  seat  is,  of 
course,  14|  inches,  the  width  of  the  two  upper 
bars  of  the  back,  as  marked  on  the  sketch. 
This  cross-bar  is  3  inches  deep,  and  passes  2 
inches  beyond  and  through  each  side  of  the 
uprights  of  the  chair.  There  is  no  necessity  for 
any  such  piece  under  the  front  of  the  chair,  as 
will  be  found  from  the  construction  of  the  seat 
itself,  though  the  drawing  (Fig.  1)  appears  to 
show  a  bar  in  the  front  position. 


K 

K 

IE 

Back 

-jU 

Front 

FIG.   4. 


Plane  up  the  timber  on  both  sides,  first 
with  a  finely-set  jack  plane,  and  lastly  with  a 
smoothing  plane,  taking  care  to  have  but 
little  iron  on,  and  to  work  always  with  (not 
against)  the  grain.  If  too  heavy  a  shaving  is 
removed,  the  wood  will  tear,  and  much  labour 
be  necessary  to  produce  a  properly  finished 
surface.  Next  draw  full-sized  paper  patterns 
of  each  piece  of  the  one  side  of  the  chair,  viz., 


HALL    CHALR  LN  ASH  OR    OAK. 


233 


two  cross  pieces  and  one  upright  or  back  piece ; 
cut  these  out  to  the  lines,  after  previously 
laying  them  on  a  table,  to  see  that  the  joints 
meet  properly  at  a.  The  end  (b)  of  the  inner 
cross  piece  must  have  a  dovetail  beyond,  but 
hidden  by  the  upright  (c).  This  dovetail  fits 
into  the  end  of  the  cross  piece  d,  which  is  finally 
secured,  by  strong  screws,  to  the  inside  of  the 
cross  piece  at  the  back  (e  f,  Fig  1).  The  paper 
pattern   from  which   this    and   its    companion 


about  3  inches  of  tenon  on  each  end.  All  these 
three  pieces  must,  of  necessity,  be  exactly  the 
same  length  between  their  respective  shoulders, 
or  the  chair  will  look,  from  front  view,  in- 
accurately turned  out. 

The  upper  part  of  the  seat  is  in  four  sides, 
the  front  being  the  longest,  and  receiving  the 
side  pieces  mortised  with  it.  Glue  this  frame 
carefully  together  with  a  clamp,  and  see  that  it 
sets  quite  true  and  flat.     Saw  two  slits  (k  k, 


(■ 


3 


FIG.  I. — FRONT  ELEVATION. 


FIG.  2.— SIDE  ELEVATION. 


piece  are  cut  out,  should  also  have  a  dovetail 
left  on.  When  the  paper  patterns  are  used, 
endeavour  to  so  arrange  them  that  whilst  the 
grain  runs  in  a  similar  direction  in  all,  there  is 
a  minimum  waste  of  board  in  cutting  out  the 
several  pieces. 

The  curves  must  now  be  finished  with  a  very 
short  plane,  or  with  a  steadily  held  spokeshave. 
Cut  out  and  finish  to  this  point  the  two  back 
uprights  and  four  cross  pieces. 

Next  cut  from  your  plank  the  pieces  (g  h)  and 
the  back  piece  (e  v)  ;  the  edge3  must  be  true  and 
square,  or  the  shoulders  of  the  tenons  will  cut 
wrongly.  Mark  off  with  your  square  and  a  chisel 
(not  a  pencil)  the  exact  width  of  the  back,  leaving 


Fig.  4),  into  which  the  back  uprights  will  fit. 
Under  this  seat  fit  the  lower  frame  \  inch 
larger  every  way,  but  with  mitre  joints, 
except  the  back,  which  should  specially  fit 
under  the  upper  frame,  and  rest  on  piece  d 
(Fig.  2).  The  two  seat  frames  are  held  together 
with  strong  l|-inch  screws,  and  the  lower 
frame  is  fastened  down  to  the  cross  lege  and 
cross  piece  (d)  by  similar  screws,  but  put  in 
before  the  top  is  finally  fixed  by  its  own  screws 
from  underneath.  Thus  no  screws  are  seen 
except  by  turning  the  chair  upside  down. 

The  chair  should  now  be  put,  or  "pegged" 
together  ;  and  when  all  parts  properly  fit,  take 
it  to   pieces,   and   "stop-chamfer"   the   edges. 


234 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


The  upper  frame  of  seat  must  now  be  stuffed 
with  a  "  pin-cushion "  seat,  as  explained  in 
the  excellent  articles  on  "  Upholstery  at  Home," 
in  Amateub,  Work.  My  own  is  in  dark 
maroon  imitation  leather,  and  looks  well ;  but 
dark  green  will  harmonise  well  with  the  ash 
or  oak.  If  the  finishing  plane  has  been 
properly  set,  little  or  no  final  application  of 
sandpaper  is  necessary.  Mix  Cannon's  powder 
size  with  boiling  water  until  slightly  sticky 
under  the  finger  and  thumb,  then  apply  hot 
to  the  wood,  avoiding  all  needless  working 
and  frothing.  "When  quite  dry,  varnish  with 
two  coats  of  elastic  oak  varnish,  drying 
horoughly  between  each  application.  The 
"  Council  Column  "  is  available  for  any  points 
not  sufficiently  clear,  or  accidentally  omitted. 


EQUATORIAL  MOUNTING  FOR 
TELESCOPES. 

By  OLIVER   BECKERLEGGE. 


I.— Motion  of  Stars  Parallel  with  the  Equator — 
The  Polar  Axis  co-ordinate  to  the  Latitude 
of  the  Point  of  Observation — How  to  find  the 
Angle  of  Elevation — Finding  the  true  North 
—Converting  Longitudes  into  Time  East  or 
West. 

^  OME  years  since,  a  series  of  valuable 
articles  on  this  subject  appeared  in 
the  English  Mechanic,  from  which  I, 
and,  without  doubt,  many  others,  obtained  a 
great  deal  of  information.  Perhaps  it  is  idle  to 
expect  that  these  words  of  mine  should  ever 
come  under  the  eye  of  the  gifted  writer  referred 
to  ;  yet,  if  they  should,  I  gladly  express  my  sense 
of  indebtedness  to  him.  I  have  read  them  over 
many  a  time,  and  if  anyone  reading  this  has  also 
read  them,  he  will  perceive  that  my  mind  has 
become  pretty  well  saturated  with  his  method. 
As  we  have  seen  in  a  previous  article,  it  is 
possible  to  follow  the  motions  of  a  star  with  a 
telescope  having  two  points  of  motion  perpen- 
dicular to  each  other;  these  two  being  required 
because  the  horizontal  motion  of  the  telescope  is 
not  coincident  with  the  circles  around  the  pole 
of  the  heavens.  In  Fig.  1, 1  have  endeavoured 
to  make    this    clear :    here   is   represented   the 


sphere  of  the  heavens,  the  earth  being  placed 
at  A ;  b  o  is  the  earth's  orbit  round  the  sun. 
If  we  plant  a  telescope  so  that  its  support  shall 
be  perpendicular  to  the  earth's  orbit,  then  e  o, 
e'  o'  will  be  the  visible  horizon.  Let  us  now 
elevate  it  so  that  it  is  directed  to  the  point  i,  if 
turned  round  on  its  axis  it  will  cut  a  circle  along 
the  line  i  i' ;  and  to  whatever  point  the  instru- 
ment is  elevated,  it  will  trace  out  circles  parallel 
with  the  horizon.  Now,  the  stars  appear  to 
revolve  around  the  point  p,  and  the  circles  they 
make  are  a  a',  b  V ,  c  c',  etc. ;  consequently  if  the 
telescope  elevated  to  the  point  i  were  turned  on 
its  horizontal  axis,  it  would  cut  the  circle  made 
by  the  star  d  at  the  point  x,  the  star  crossing 
the  field  of  vision  in  a  slanting  direction.  Turn- 
ing still  round  it  cuts  c  at  x,  b  at  x,  the  stars  at 
a  not  crossing  its  path  at  all ;  thus  to  keep  a 
star  in  the  field  of  view,  the  telescope  must  be 
turned  on  its  axis,  also  tilted  up  or  down,  accord- 
ing as  the  star  is  ascending  or  descending,  as  we 
may  be  looking  east  or  west.  But  let  us  now 
bend  the  stand  over  on  one  side,  so  that  it  shall 
no  longer  be  perpendicular  to  the  e  o,  but  to  the 
equator  e  e'  (Fig.  2),  and  be  directed  to  the  pole 
of  the  heavens.  It  will,  I  think,  be  quite  clear 
that  if  the  telescope  is  now  turned  round  on  its 
axis,  it  will  cut  circles  parallel  with  the  motion 
of  the  stars.  In  Fig.  2,  the  telescope  is  directed 
to  a  star  at  c ;  if  the  instrument  be  now  turned 
on  its  axis  (which  is  parallel  with  the  axis  of 
the  heavens),  it  will  cut  the  circle  c  c,  and  con- 
sequently keep  the  star  in  view  until  it  sinks 
below  the  horizon  x.  If  directed  to  a  star  at  e, 
it  would  keep  it  in  view  for  twelve  hours,  the 
other  twelve  hours  it  being  below  the  horizon. 
If  again  directed  to  a  star  at  b,  and  the  instru- 
ment is  turned  round  at  a  regular  rate  once  in 
twenty-four  hours,  then  theoretically  the  star 
would  remain  in  the  same  position  in  the  field 
of  view,  because  the  instrument  moves  in  the 
same  plane,  and  at  the  same  speed  as  the  star. 
By  thus  fixing  the  instrument  parallel  with  the 
pole,  we  have  gained  this  great  advantage,  that 
we  need  but  one  motion  to  follow  a  star,  instead 
of  two  ;  its  circles  are  parallel  with  the  equator  ; 
thus  we  call  it  an  equatorial.  But  this  is  the 
idea  in  its  simplest  form,  yet  it  is  the  funda- 
mental or  root  idea. 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


235 


shall  now  be  prepared  to  take  another 
;^he  axis  of  the  instrument  must  be 
parallel  with  the  pole  of  the  earth,  hence  this 
axis  is  tailed  the  polar  axis  of  the  instrument ; 
and  in  future  we  shall  so  designate  it.  Fig.  3 
•fill  give  us  the  idea  that  the  farther  we  get 
fjrom  the  equator  the  more  acute  the  angle  be- 
-eoates.  At  e  ^the  equator)  the  p  a  (polar  axis) 
is  at  right  angles  to  g  h,  the  pedestal,  and  per- 
pendicular to  the  ceutre  of  the  earth.  At  d,  c, 
and  B  the  angles  become  more  and  more  acute  ; 
fa  each  ease  the  top  of  the  pedestal  to  which 
the  p  a  is  attached  is  parallel  with  the  pole. 
It  will  be  seen  that  a  pedestal  for  any  two 
places  on  different  parallels  of  latitude  must 
have  a  different  angle;  indeed,  the  elevation  of 
the  polar  axis  must  be  the  same  as  the  degree 
of  latitude  of  the  point  of  observation. 

In  a  former  paper  we  have  supposed  that  we 
have  fixed  a  pillar  firmly  in  the  ground,  and 
that  it  is  perfectly  perpendicular  with  the  centre 
of  the  earth;  we  now  want  to  determine  the 
exact  angle  of  the  polar  axis.  To  do  this  we 
must  learn  the  latitude  of  the  place  in  which  we 
reside,  and  where  we  wish  to  plant  the  telescope. 
In  almost  any  good  atlas  the  latitude  and  longi- 
tude of  all  the  principal  places  are  given ;  for 
example,  I  look  for  Preston  in  Lancashire,  the 
place  where  I  am  now  writing,  and  I  find  it  is 
53°  45'  north.  On  a  sheet  of  cartridge-paper  I 
draw  a  large  semicircle  of,  say,  2  feet  diameter, 
as  Fig.  4,  and  mark  off  degrees  and  quarter 
degrees,  and  down  to  seconds  if  needs  be  :  of 
course,  the  larger  the  scale  on  which  we  work, 
the  easier  this  will  be  accomplished.  From  b, 
draw  a  line  through  53°  45'  to  d  ;  extend  the  line 
b  d,  which  must  be  cut  by  a  line,  e  f,  parallel 
with  b  c.  Draw  lines  f,  g,  e,  h  parallel  with 
line  d  b  ;  this  will  be  a  template  by  which  we 
must  cut  off  the  top  of  the  pedestal,  a  b,  Fig.  5. 
It  will  thus  be  seen  that  the  elevation  of  the 
polar  axis  of  the  telescope  is  co-ordinate  with 
the  latitude  of  the  place,  as  it  is  generally  for- 
mulated. This  is  easily  demonstrated  thus : 
draw  lines fe,ji  (Fig.  4,  dotted  lines),  parallel 
with  the  string  a  b;  and  lines  e  f,  k  i,  parallel 
with  line  b  c  ;  it  will  be  seen  that  the  angle 
f  x  I  is  the  same  as  f  b  i.  Or,  again,  extend  the 
line  f  o,  and  lay  a  quadrant  on  it ;  and  the  line 


f  e,  which  is  the  polar  axis,  will  intersect  the 
quadrant  at  50°,  which  is  also  the  latitude  of 
the  place  in  the  diagram.  Thus  by  this  simple 
means  we  can,  if  we  know  the  latitude  of  any 
given  place,  mark  off  the  angle  for  the  polar 
axis  of  the  instrument. 

Before  we  proceed  to  the  mechanical  construc- 
tion of  our  stand,  there  is  another  subject  for 
our  consideration.  Not  only  must  the  axis  be 
at  the  right  angle,  but  it  must  stand  due  north 
and  south.  How,  then,  to  find  the  true  north 
must  be  our  next  consideration. 

On  the  top  of  the  pedestal  already  fixed  we 
must  bolt  a  slab,  say,  of  roofing  slate,  about  12 
inches  square  by  1  inch  thick.  Now  it  is  known 
to  everyone  capable  of  taking  an  interest  in  the 
subject  of  this  article,  that  the  magnetic  needle, 
whilst  it  gives  the  magnetic  north,  does  not 
indicate  the  true  north ;  also  that  what  is 
generally  known  as  the  pole  star,  does  not  give 
the  true  north.  For  common  purposes  the  pole 
star  may  be  reckoned  fixed,  but  for  astronomical 
measurements  it  must  not  be  so  considered.  The 
true  north  is  a  point  around  which  this  star 
appears  to  revolve.  It  will  be  readily  under- 
stood that  when  the  sun  is  in  the  meridian  it  is 
due  south.  If,  then,  on  a  circle  the  centre  of 
which  is  determined,  we  can  point  to  due  south, 
the  fixing  of  the  true  north  is  easy.  On  the  slab, 
already  referred  to,  find  the  centre  and  draw 
three  consecutive  circles,  as  shown  in  Fig.  6. 
In  the  centre  drill  a  small  hole,  just  large 
enough  to  take  a  steel  knitting  needle,  which 
must  be  perfectly  straight.  This  needle  must 
be  fixed  as  a  gnomon,  and  precaution  must 
be  taken  that  it  is  perfectly  perpendicular ; 
this  is  absolutely  essential.  When  the  days 
are  at  their  longest  or  shortest — in  June  or 
December — -is  the  best  time  to  carry  out  our 
operations.  At  any  station  which  receives 
time  from  Greenwich  set  a  good  time-keeping 
watch.  Our  watch  will  now  be  fast  or  slow, 
as  we  may  happen  to  be  east  or  west  of 
Greenwich,  at  the  rate  of  1  hour  for  every  15 
degrees.  Thus,  as  the  circle  is  divided  into  360°, 
one  twenty-fourth  of  that  is  15.  As  there  are 
60  minutes  in  the  hour  and  60'  in  a  degree,  then 
as  15°  give  one  hour  of  time,  so  15'  give  one 
minute  of   time ;    and  as  there  are  60"  to  the 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


minute  in  each  case,  so  it  follows  that  15"  of  a 
degree  give  1"  of  time. 

Turning  again  to  the  atlas,  I  find  that  Preston 


is  2°  45'  west  of  Greenwich. 
Now  rVth  of  2°  45'  equals  11 
minutes  of  time  ;  so  the  sun  is 
due  south,  or  on  the  meridian 
at  Preston  eleven  minutes  later 
than  at  Greenwich.  On  the 
same  principle  the  true  noon 
at  any  place  can  be  found  when 
we  have  determined  its  longi- 
tude. As  a  matter  of  fact,  we 
can  either  for  the  purpose  before  us  set  our 
watch  at  the  true  time,  or  make  calculation  for 
the  difference. 


FIG  5. 


FIC  6 


Now,  with  watch  in  hand,  let  us  notice  where 
the  shadow  of  the  gnomon  falls  on  the  circle  c 
exactly  40  minutes  to  noon  ;  then  where  it  crosses 


I 


WRINKLES  FOR    CYCLISTS. 


237 


*  at  30  minutes  to  noon  ;  and  at  a  at  20  minutes 
to  noon.  Again  at  c  20  minutes,  30  minutes, 
and  40  minutes  after  noon.  Find  the  centre  of 
a  a,  I  b,  c  e,  and  draw  a  line  through  these  to  the 
centre  of  the  circle,  and  extend  the  line  to  the 
other  diameter,  and  the  line  will  lie  true  north 
and  south.  It  will  be  well  to  put  a  deep  V  notch 
at  each  end  of  the  line.  If  the  polar  axis  of 
the  telescope  is  now  placed  coincident  with  this 
line,  it  will  point  to  the  true  north. 


WRINKLES  FOR  CYCLISTS. 

By  A  PRACTICAL  REPAIRER. 


Ball  Bearings. 
^^^S  a  practical  repairer,  I  hare  often  been  surprised 
I  J=  '4  aQd  amused  at  the  gross  ignorance  of  many 
I  %JQ  L'.TcUsts  regarding  the  mechanism  of  their 
*"PP^^  machines,  a  very  little  knowledge  of  which 
would  often  save  many  a  visit  to  the  repairing  shop,  and 
of  courBe,  to  their  pockets. 

A  first-class  safety  bicycle  costs  from  £18  to  .£20.  It 
is  a  carefully  made  and  somewhat  intricate  piece  of 
mechanism,  and  the  vital  parts,  namely,  the  ball  bearings, 
are  quite  concealed  from  the  observer.  It  is  highly 
necessary  that  every  possessor  of  a  machine  such  as  this, 


side,  otherwise  the  oil  will  run  down  to  the  rim,  and  soften 
the  cement  which  holds  the  canvas  in  place,  thereby 
weakening  the  tyre  and  causing  it  to  give  way  when 
pressure  comes  upon  it. 

If  a  wheel  is  too  tightly  screwed  up,  it  will  show  itself 
by  stopping  immediately  after  being  revolved.  Slacken 
back  the  nut  on  the  loose  cone  side,  and  turn  back  the 
loose  cone  a  very  little  bit ;  try  the  wheel  again,  and  when 


FIG   3. 


FIC.2. 


FIG.   I.— SMALL  GAS   TYRE   HEATER.       FIG.  2.— SPLICE    IN   TYRE        FIG    o        cdo^-^^ 

WITH   FIXED  AND   SCREWING    CODES'       F'G'  ^^  "^  SP'NDLE 


should  know  something  of  this  part  of  the  mechanism. 
These  bearings  consist  of  hard  steel  balls  running  in  hard 
steel  receptacles  made  for  them,  their  purpose  being  to 
lessen  the  friction  as  much  as  possible.  It  is  highly 
necessary,  therefore,  that  they  should  be  adjusted  to  give 
the  best  possible  result.  In  a  first-class  machine  the3e 
balls  are  employed  in  the  steering  head,  both  wheels, 
pedal  shaft,  and  pedals.  All  these  bearings  require 
adjustment  now  and  then,  from  caps  and  nuts  working 
loose  by  the"  vibration  of  the  machine ;  and  with  a  very 
little  knowledge,  the  owner  may  readily  adjust  them  for 
himself. 

Above  all  things,  ball  bearings  should  be  kept  clean  ; 
when  they  become  clogged  with  oil,  pour  in  some 
parafiin,  and  make  the  wheel  revolve.  The  paraffin  will 
clean  out  the  dirt ;  then  wipe  off  with  a  rag,  and  oil  the 
bearings  afresh.  If  the  machine  has  pneumatic  tyres,  this 
cleaning  out  must  be  done  with   the  machine  lying  on  its 


set  smartly  revolving,  it  should  run  for  about  five  minutes. 
Catch  the  wheel  at  the  tyre,  and  move  it  sideways  ;  if  it  has 
the  slightest  perceptible  shake,  it  will  do.  Screw  up  the 
outside  nut  firmly.  If  the  wheel  is  too  loose,  this  will 
be  discerned  by  moving  it  sideways  as  before  ;  it  will  show 
loose  at  the  hub;  slacken  back  the  nut  as  before,  and 
tighten  up  the  cone  until  the  shake  almost  disappears,  and 
screw  up  the  nut  again.  The  same  operation  is  observed 
with  regard  to  the  pedals,  pedal  shaft,  and  steering  head. 
Fig.  4  shows  a  ball  hub  spindle  and  cones.  The  loose 
cone  should  always  be  on  the  left  side  of  the  wheel ;  this 
prevents  any  tendency  on  the  part  of  the  cone  to  run 
inward  and  jam  up  the  wheel. 

Tkueino  the  Wheels. 
After  running  for  a  time,  even  the  best  of  wheels  will 
sometimes   go  off    the    truth  ;  that  is,  the  rim   begins  to 
wobble  a  little.     This  should    be  remedied  at  once.     To 


238 


THE  MAGIC  LANTERN:  HOW  TO  MAKE  AND    USE  IT. 


true  the  wheel,  place  the  machine  so  that  the  wheel  may 
revolve  freely  ;  spin  it  round  quickly,  and  (holding  the 
hand  steadily)  touch  the  place  where  the  rim  wobbles 
with  a  piece  of  chalk.  Unscrew  the  spoke  a  half  turn  or 
so  on  that  side  where  the  chalk  has  touched,  and  tighten 
a  spoke  or  two  on  the  other  side  of  the  wheel ;  by  this 
means  the  wheel  may  be  easily  brought  true  again. 
The  turning  of  the  spokes  is  accomplished  by  means  of  a 
spokegrip,  shown  in  Fig.  3.  If  the  cyclist  has  not  one  of 
these  handy  little  instruments,  he  should  procure  one  ;  the 
price  is  about  Is.  6d.,  and  by  a  little  careful  use  of  it  he 
may  save  many  a  trundling  of  the  machine  to  the 
repairing  shop. 

Tyre  Binders. 
The  cyclist,  when  going  a  long  journey,  should  never 
omit  to  carry  a  small  box  of  these  articles  in  his  pocket, 
in  case  of  a  piece  of  tyre  coming  loose.  The  leather 
piece  of  the  binder  goes  round  the  tyre,  and  the  two  wire 
ends  are  twisted  together  in  the  rim.  By  this  means  the 
tyre  is  securely  fixed  until  the  cyclist  reaches  home,  where 
the  loose  piece  may  be  properly  fastened. 

Fixing.  Loose  Tyres. 
To  fix  a  loose  tyre  a  small  gas  or  spirit  tyre-heater  will 
be  found  handy.  Fig.  1  shows  one  of  these  useful  articles, 
which  may  be  purchased  from  most  cycle  dealers  or  cycle 
fitting  warehouses  ;  the  price  ranges  from  about  2s.  for 
the  smallest  to  4s.  for  the  largest  size ;  the  smallest  size  is 
large  enough  for  home  use.  It  is  connected  to  a  gas 
bracket  by  means  of  a  piece  of  rubber  tubing.  Heat  the 
rim  under  the  loose  part,  and  the  cement  will  soon  dissolve. 
Roll  the  tyre  sideways,  and  if  sufficiently  heated  the 
cement  will  ooze  out  at  the  sides.  When  hard  clean  off 
the  overflow  cement.  See  that  in  fixing  the  tyre  you  have 
it  projecting  out  at  an  equal  distance  from  the  rim  all 
round,  as  the  wheel  will  run  lumpy  if  this  is  not  done. 

Broken  Tyre. 
It  sometimes  happens  that  a  tyre  gels  broken,  or  the 
splice  may  give  way.  To  re-splice  it  cut  the  ends,  as 
shown  in  Fig.  2,  with  a  keen,  wet  knife  ;  smear  the  ends 
with  cement,  sold  for  the  purpose  in  most  of  the  cycle 
shops  in  small  bottles  or  tins.  Hang  up  the  tyre  until  the 
cement  is  almost  dry  (about  an  hour),  then  join  the  ends 
neatly  together,  and  hammer  with  a  wooden  mallet.  This 
makes  a  capital  joint  if  the  ends  have  been  neatly  cut. 

The  Chain. 

The  chain  should,  to  run  properly,  be  slack  enough  to 
hang  just  a  little,  and  lubricated  with  blacklead  or  graphine, 
which  may  be  obtained  at  the  cycle  dealers.  If  tbe 
cyclist  has  been  using  oil,  and  wishes  to  change  to  black- 
lead,  he  should  steep  his  chain  in  paraffin  for  an  hour  or 
so.  This  will  clean  the  chain  perfectly  free  from 
clogged  oil. 

Nickel-Plating. 

To  keep  up  the  bright  appearance  of  a  machine,  tbe 
cyclist  should  polish  up  the  nickel-plated  parts  now  and 
then.  Mix  a  little  rouge  with  water  to  form  a  paste. 
Apply  to  the  plated  parts  with  a  piece  of  wash  leather, 
and  polish  off  with  a  large  soft  piece  of  the  same  material ; 


this  will  give  to  the  plated  parts  a  beautiful  polish.  If  any 
pieces  of  black  enamel  have  been  knocked  or  scraped  off 
any  parts  of  the  frame,  they  should  be  touched  up  with 
"  Club "  special,  hard-drying,  black  enamel,  which  is 
about  the  best  I  have  ever  used. 

Spare  Nuts. 
A  great  trouble  with  cyclists  is  nuts  dropping  off  on 
the  road.  When  this  happens  with  a  pedal,  the  machine 
is  crippled  for  the  trip.  To  meet  such  a  contingency 
the  cyclist  should  find  out  the  size  of  the  thread  on  all 
nuts  of  his  machine  that  are  at  all  likely  to  come  off,  and 
provide  himself  with  at  least  one  of  each.  They  can  be 
easily  carried  in  the  tool-bag  or  in  the  pocket,  and  he  has 
nothing  to  do  but  replace  a  lost  nut  from  his  store. 

Gearing. 
The  gearing  up  of  a  cycle  may  be  found  by  a  simple 
arithmetical  rule.  Multiply  the  diameter  of  the  driving 
wheel  by  the  number  of  teeth  in  the  chain  wheel,  and 
divide  the  result  by  the  number  of  teeth  in  the  driving 
wheel  hub  chain  cog.  The  result  will  be  the  size  in  inches 
that  the  machine  is  geared  to.     Example  : — 

Driving  wheel  ...         ...         ...         ...  30  inches 

Chain  wheel  teeth        16 


Teeth  on  hub  cog 


180 
30 
9  )480 

53  inches. 


Winter  Storing. 
To  conclude,  I  might  say  that  if  the  cyclist  has  occasion 
to  lay  bis  machino  by  for  the  winter,  he  should  cover  up 
the  plated  or  bright  parts  with  a  coat  of  vaseline.  This 
will  protect  them  through  the  winter  months,  and  when 
rubbed  off,  the  plating  will  be  as  good  as  ever. 


THE  MAGIC  LANTERN :  HOW  TO 
MAKE  AND  USE  IT. 

WITH   FULL   INSTBUJCTIONS  FOE 
MAKING  A   £50   OUTFIT   FOE  £5. 


By   W.  A. 


ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 


-A  New  System  of  Dissolving— Fitting  the  Gas 
Tubes — The  Rolling  Curtain  Effect— Lacquer- 
ing the  Brasswork— The  Retort,  Purifier,  and 
Gas  Bag. 

HE  dissolver  is  for  the  purpose  of 
making  one  picture  die  away  and 
another  take  its  place  ;  this  is  simply 
done  by  turning  tlie  light  from  one  burner  into 
another.  Nearly  every  maker  has  his  own 
patent,  and  all  are  most  costly  and  complicated, 


THE  MAGIC  LANTERN:   HOW    TO  MAKE  AND    USE  IT. 


239 


which  is  simply  so  much  talent  and  money 
thrown  away,  when  here  is  a  simple  plan 
that  is  better  than  any  other  ever  invented ;  I 
have  been  using  it  for  the  last  twenty  years,  but 
have  hitherto  kept  it  a  secret,  and  I  now  present 
it  to  the  readers  of  Amateur  Work. 

All  we  want  is  a  cock  on  each  tube  behind  the 
adjusting  cocks  ;  connect  the  one  on  the  hydro- 
gen to  the  one  on  the  oxygen,  with  a  little 
handle  or  knob,  so  that  when  pulled  it  works 
the  two  gases.     (See  Figs.  31  and  32.) 

Now  to  dissolve :  all  we  have  to  do  is  push  in 
the  knob  of  the  burner  in  work,  and  at  the  same 
time  pull  out  the  knob  of  the  burner  in  front  of 
which  we  have  the  next  slide.  Surely  nothing 
can  be  more  simple  than  that. 

I  have  only  given  instructions  for  making  one 
of  each  of  the  parts,  but  of  course  we  shall  want 
three  sets  of  everything. 

At  the  back  part  of  the  inside  of  the  lantern 
we  must  put  two  upright  tubes  to  carry  the 
gases  to  the  burners.  Make  a  tube  to  fit  inside 
crosswise,  and  screw  or  solder  flanges  to  the  ends 
with  holes  for  screwing  to  the  woodwork.  Make 
a  tube  as  before,  but  with  one  end  projecting 
1  inch  beyond  the  flange.  Now  connect  two 
upright  tubes,  one  of  which  has  a  little  tube 
projecting  at  right  angles.  Connect  the  burner 
tubes  at  the  right  distance  apart,  so  that  the 
centre  of  light  is  in  the  centre  of  the  condenser. 
The  tubes  must  be  stopped  so  that  one  gas  goes 
up  one  tube,  and  the  other  gas  up  the  other  tube  ; 
the  two  little  projecting  tubes  come  through  the 
side  of  the  lantern  to  receive  the  rubber  tube 
from  the  gas-holder.     (See  Fig.  30.) 

A  nice  effect  is  produced  by  fitting  the  lantern 
with  a  rolling  curtain  arrangement,  thus  :  get  a 
strip  of  thin  brass,  say  5  inches  wide  and 
18  inches  long;  cut  two  square  holes,  so  that 
when  one  hole  is  over  one  condenser  the  other 
hole  is  clear  of  the  other  condenser,  or  nearly  so. 
Fit  a  little  guide  on  each  side  of  the  woodwork 
of  the  lantern  to  hold  this  arrangement.  It  will 
then  be  seen  that  if  the  two  burners  are  alight 
at  the  same  time  only  one  picture  can  be  seen. 
New  if  we  put  a  slide  in  the  one  painted  to 
represent  the  front  of  a  stage  or  a  picture  frame, 
or  anything  of  that  class,  and  in  the  other  an 
ordinary  tlide.   and  pull  the  strip  of   brass  or 


curtain  shutter  slowly  up,  it  will  have  the  effect 
of  the  curtain  going  up,  and  showiDg  the  picture 
behind;  then  bring  it  down  again,  and  change 
the  slide.  This  makes  a  nice  change  from  the 
dissolving,  but  the  extra  gas  consumed  is  a 
serious  item. 

Another  pleasing  effect  is  to  throw  a  soft  tint 
on  the  picture,  which  is  done  by  taking  out  the 
curtain  shutter,  and  putting  in  another  having 
gelatine  or  coloured  glass  in  the  holes. 

We  sometimes  want  to  raise  the  front  of  the 
lantern  up  to  clear  the  heads  of  the  audience,  and 
some  boxes  or  books  are  generally  put  under  for 
that  purpose  ;  but  our  body  being  hinged  at  the 
back  to  the  plinth,  it  is  a  simple  matter,  and 
much  more  convenient,  to  fix  a  screw  and  plate, 
the  same  as  to  the  slide-holder. 

All  the  brass  work  that  has  been  made  bright 
must  now  be  polished  up  again  with  fine  dry 
emery  powder  and  a  brush,  wiped  up  clean,  and 
without  touching  with  the  hands,  placed  in  an 
oven  or  other  warm  place ;  then,  when  just 
hot  enough  to  touch  with  the  finger,  quickly  and 
evenly  go  over  it  with  a  little  gold  lacquer  on  a 
soft  brush  or  dabber  of  cotton  wool ;  then  place 
back  in  the  oven  again  for  a  few  minutes  to 
harden.  It  will  require  some  practice  to  do  this 
properly,  and  if  you  make  a  mess  of  it  the  first 
time,  it  can  be  rubbed  off  with  a  little  methy- 
lated spirit. 

So  far  as  the  lantern  is  concerned  our  job  is 
finished ;  but  we  shall  want  some  gas,  or  rather 
gases,  to  work  it  with. 

The  first  and  best  way  is  to  get  it  compressed 
in  steel  cylinders.  It  can  be  bought  at  any 
lantern  dealers  at  about  sixpence  the  cubic  foot, 
and  we  shall  require  from  8  to  16  feet  of  each  sort 
per  night.  This  is  a  serious  item ;  besides, 
many  of  our  readers  reside  where  they  could  not 
procure  it  were  they  so  inclined  ;  so  for  their 
benefit  I  must  give  the  details  of  manufacture. 
To  make  the  oxygen  we  shall  require  a  retort,  a 
purifier  to  cool  and  wash  the  gas,  a  bag  to  hold  it, 
some  f  rubber  tube,  chlorate  of  potass,  and  black 
oxide  of  manganese.  The  retort  is  a  cone  made 
of  sheet  iron,  about  12  inches  high  and  6  inches 
in  the  base,  brazed  all  over  with  a  f-inch  gas 
T  and  a  f-inch  brass  tube  screwed  into  the 
side.    (See  Fig.  33.)    Retorts  are  rather  difficult 


240 


THE  MAGIC  LANTERN:   HOW  TO  MAKE   AND    USE  IT. 


to  make,  but  can  be  bought  for  about  6s. 
complete. 

The  purifier  can  be  made  of  tin,  any  size — from 
a  Swiss  milkjtin  to  a  biscuit  box.  A  quart  oil- 
can may  be  got  at  any  oilshop  for  sixpence,  and 
it  is  a  first-rate  thing  for  the  purpose,  as  it  will 
have  a  screwed  cap,  into  which  can  be  soldered 
a  little  -}  brass  tube.  Make  a  hole  in  the  sid  e 
near  the  top,  and  solder  a  tube  so  that  it  will  go 
nearly  to  the  bottom,  and  project  a  few  inches 
on  the  outside.     (See  a,  Pig.  34.) 

The  bag  is  the  most  difficult  part  of  all,  but  I 
have  no  doubt  with  a  little  perseverance  you  will 


shape  ;  secure  the  rubber  to  the  boards  with  a 
little  glue  and  a  few  tacks,  leaving  a  margin  all 
round  of  about  \  inch  of  rubber  to  double  over 
(see  Fig.  35),  take  up  the  sides,  and  secure  in 
the  same  way.  The  rubber  will  project  a  few 
inches  over  the  end ;  it  must  not  be  cut  off,  but 


■36 


fig  /it-Boards  placedui  position  ibrfaxngrvbber. 

get  over  it.  You  will  require  two  f  inch  boards 
3  feet  square  ;  all  the  joints  must  be  well  made, 
and  warranted  not  to  shake  or  split ;  a  piece  of 
rubber  twill  sheeting  3  yards  long  and  1  yard 
wide  (this  will  cost  you  from  3s.  to  12s.  per 
yard,  according  to  quality) ;  2  yards  of  American 
leather,  from  6d.  to  2s.  per  yard,  and  2  yards  of 
strong  calico  ;  some  bi-ass-headed  tacks,  Id.  per 
dozen ;  two  pair  of  hinges,  and  a  brass  f  cock, 
with  end  to  take  f  rubber  tube. 

Glue  the  calico  on  one  side  of  each  of  the 
boards ;  when  dry  give  a  coat  or  two  of  paint ; 
then  hinge  at  one  end,  lay  the  rubber  twill  flat 
on  the  ground,  and  open  out  the  boards  wedge 


FIC  33 
Ttetort. 


secured  on  the  thin  edge  of  the 
wedge.  Now  cut  all  round, 
leaving  about  \  inch  of  margin, 
and  very  carefully  glue  and  tack 
this  down.  A  strip  can  be  cut 
from  the  waste,  about  36  inches 
long  and  3  wide,  to  cover  the 
end,  and  great  care  must  be 
taken  in  making  the  join,  which 
can  lap  over  as  much  as  the  rubber  will  allow ; 
the  joint  should  be  made  with  rubber  solution. 
Now,  if  the  rubber  was  taken  off  again,  you 
would  find  it  was  the  shape  of  Fig.  36.  The  bag 
should  now  be  air-tight,  and  partly  filled,  so 
that  you  have  only  to  put  a  weight  on  the  wide 
end,  and  gauge  the  height  with  a  piece  of  board, 
and  you  will  very  soon  see  if  it  goes  down  ;  a 
pin-hole  will  empty  it  in  a  couple  of  hours,  so 
we  must  take  care  not  to  have  any  pin-hole  ;  in 
fact,  it  must  be  tight.  If  it  is  not  so,  examine 
carefully  for   the   defect,  and   if   there  is  any 


A    WRITING    TABLE. 


241 


difficulty  about  finding  it,  make  a  hole  in  the 
thin  end  about  1  inch  from  the  end,  and  allow 
all  the  air  to  escape ;  then  fix  the  cock,  which 
must  have  a  flange  to  it,  for  the  purpose  of 
screwing  to  the  wood  with  wood  screws.  Then 
fill  with  common  gas,  and  without  turning  off 
the  cocks,  put  jour  nose  all  round  and  over  the 
bag,  and  you  cannot  fail  to  find  the  escape.  A 
dab  with  the  glue  brush  and  a  tack  or  two 
will  soon  make  it  all  right.  When  perfect,  take 
off  the  cock  and  flange,  glue  the  American 
leather  front  and  back,  put  in  a  few  brass  tacks 
for  ornament,  and  to  keep  the  corners  from 
rubbing,  hinge  a  little  shelf ,  about  9  inches  from 
the  wide  end,  to  hold  the  weights  ;  put  the  cock 
on  again  with  a  little  white  lead,  and  nicely 
letter  it — "  Oxygen."  If  you  intend  to  use  the 
high-pressure  burners,  you  will  require  another 
bag  to  hold  the  hydrogen. 


A  WRITING   TABLE. 

By  ELECTRON. 


JHE  writing  table  about  to  be  described 
is  a  new  design,  and  will  be  found  a 
very  useful  piece  of  furniture  in  a 
small  dining  or  sitting  room.  At  each  end  is  a 
folding  leaf,  which  when  opened  forms  a 
dining  or  occasional  table,  and  when  folded  the 
table  occupies  a  very  small  space ;  when  used 
for  writing,  the  centre  pait,  which  is  hinged,  is 
lifted  up  and  held  by  a  stay  fitting  into  notches 
on  each  side  ;  underneath  this,  a  box  or  well  is 
formed,  and  it  will  easily  be  seen  that  if  called 
away  suddenly,  any  papers  or  writing  may  be 
left  quite  safely  by  merely  letting  the  cover 
down  and  locking  it. 

The  table  is  made  of  mahogany,  French 
polished,  but  oak  or  birch  may  be  used  if 
preferred  ;  in  any  case,  the  wood  must  be  very 
dry  and  well-seasoned,  especially  the  leaves. 

Fig.  1  is  a  side  view  of  table  on  a  scale  of 
1  inch  to  the  foot,  and  Fig.  2  a  section,  f  inch 
to  the  foot,  of  the  box  in  centre  opened  for 
writing.  The  legs  are  made  out  of  a  piece  of 
wood  '2\  inches  square  and  2  feet  6  inches  long ; 
the  parts  left  square  at  top  and  bottom  have 
two  beads  worked  on  them  with  a  router.     A 


drawing  of  leg  and  part  of  bottom  rail  is  shown 
at  Fig.  3,  drawn  to  a  scale  of  3  inches  to  the 
foot.  The  full  width  of  table-top  is  2  feet  6 
inches,  and  it  projects  over  the  square  part  of 
leg  1  inch  at  each  side.  The  legs  must  be 
turned  to  one  size  and  pattern,  and  mortised 
for  the  end  and  side  rails.  The  end  top  rails 
are  6  inches  deep ;  the  lower  rail  is  shown  in 
Fig.  3 ;  the  top  and  bottom  pieces  are  1} 
inches  by  f  inch.  A  bead  is  run  down  the 
centre  of  each  piece,  and  both  are  bored  at 
equal  distances  for  the  small  turned  spindles, 
which  are  two  inches  long  between  shoulders  ; 
these  spindles  are  glued  into  the  two  rails. 
The  mortises  in  the  table  legs,  and  the  tenons 
on  the  rails,  must  be  made  a  true  and  accurate 
fit,  and  should  be  cramped  and  glued  together. 
The  side  top  rails  of  table  are  2  inches  by 

1  inch,  and  the  rail  to  which  top  of  centre  part 
of  table  is  hinged  is  3  inches  by  1  inch,  with 
two  beads  worked  on  it.  The  two  rails,  2 
inches  by  1  inch,  must  have  a  rebate,  §  inch 
square,  worked  on  the  inside,  for  the  bottom 
of  box  to  rest  on.  A  rail,  2  inches  by  1  inch> 
must  also  be  put  across  the  centre,  and 
mortised  into  the  top  end  rails ;  this  is  for  the 
purpose  of  strengthening  the  bottom  of  box. 
There  is  only  one  side  lower  rail,  which  is 
fixed  in  centre  of  end  lower  rails,  so  as  to  be 
clear  of  the  feet  when  the  table  is  in  use.  AH 
the  side  rails  must  be  accurately  fitted  into 
their  respective  mortises,  and  they  should  be 
glued  and  cramped  together. 

Fix  eight  triangular  blocks  under  top  rails, 
with  a  bead  worked  across  the  centre ;  two  of 
these  are  shown  on  Fig.  1. 

The  bottom  of  box  should  next  be  fixed ;  it  is 
^  inch  thick,  and  rests  on  the  rebates  cut  in  the 
two  top  side  rails  ;  it  may  be  of  mahogany,  left 
the  natural  colour  of  the  wood,  or  of  pine 
covered  with  leather. 

The  top  must  next  be  prepared ;  it  is  in  five 
pieces  ;  the  two  leaves  are  1  foot  3  inches  by 

2  feet  6  inches ;  the  two  pieces  at  a  a  are  2| 
inches  by  2  feet  6  inches,  and  the  centre  piece 
2  feet  2  inches  by  2  feet  6  inches  ;  each  piece  is 
1  inch  thick ;  the  joints  are  shown  full  size  in 
Fig.  4.  The  centre  piece  has  a  rail,  3  inches  by 
1  inch,  fixed  under  one  side,  and  a  lock  fixed  in 

vol.  m.  (n.s.) — u 


242 


A    WRITING    TABLE. 


m 


^^ 


w ^ 

Scale  1^-1  Foot 


FIG.  I. Side  view  of  Table. 


FIC.2.  Section,  of '  Table  open-far-writmg 


FIG. 4-.  Joint  cut.  A.A.Ta/lSize 


F I C .  3 .  Table  Leg  andSad 
3i*-=1f* 

it ;  at  the  opposite  side  it  is  hinged 
to  the  side  rail  already  fixed.  Three 
or  four  notches  must  be  cut  in  the 
under  side,  into  which  two  stays, 
1 3  inches  long  (hinged  to  the  side 
rails),  are  fixed,  to  keep  the  centre 
piece  open  while  writing,  as  shown 
in  Fig.  2  ;  the  edges  of  this  piece 


are  half-lapped,  to  prevent  dust  getting  through. 
The  two  pieces  (a  a)  must  be  jointed,  as  shown 
in  Fig.  4,  and  fixed  on  the  end  rails,  as  shown 
in  Fig.  1.  The  two  leaves  are  jointed,  as 
shown  in  Fig.  4,  and  hinged  by  back-flap 
hinges  on  the  underside.  The  corners  of  the 
two  leaves  are  cut  off  about  2  inches  each 
way,  and  the  whole  of  the  top  is  chamfered 
round  on  the  upper  side.  Two  brackets  are  fixed 
at  each  end,  for  the  purpose  of  keeping  the 
leaves  open  ;  they  are  hinged,  and  when  folded 
are  flush  with  the  square  part  of  legs,  allowing 
the  leaves  to  hang  down.  A  brass  castor  is 
fixed  on  each  leg,  and  the  whole  is  cleaned  off 
and  French  polished.  "With  this  operation  our 
labours  are  complete,  and  we  are  rewarded  in 
the  addition  to  our  home  of  a  very  useful  and 
tasteful  piece  of  furniture,  an  eminently  satis- 
factory result  when  we  consider  that  utility  and 
beauty  are  not  always  associated. 


AMATEUR    CONJURING. 


243 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 
By  A.  EAR  LET. 


Effective  Sleight-of-Hand  Trick. 
PEOMISED  to  show  you  a  simple  (do 
not  despise  it,  because  I  call  it  simple) 
and  very  effective  sleight-of-hand 
trick.  I  will  commence  by  enumerating'  the 
articles  required  for  this  experiment.  First, 
you  will  want  a  piece  of  apparatus  that  is 
commonly  called  a  "  rattle-box,"  which  you  can 
buy  for  Is.  6d.  at  Messrs.  J.  Theobald  &  Co.'s 
shop  in  Church  Street,  Kensington.  I  do  not  care, 
as  a  rule,  to  mention  names  in  connection  with 
my  articles,  but  I  cannot  refrain  from  praising 
the  excellence  of  workmanship  of  the  few  things 
I  have  had  occasion  to  buy  from  this  firm. 

As  I  have  just  mentioned,  you  can  obtain  it 
for  Is.  6d.,  but  there  are  some  amateurs  who 
will  prefer  to  make  the  apparatus  for  themselves. 
It  is  an  oblong  box  (Fig.  13)  with  a  false 
bottom,  about  J  inch  in  depth ;  the  back  end 
made  to  open.  The  false  bottom  is  used  to 
hold  a  slip  of  tin  or  zinc,  which  is  made  so  that 
it  may  rattle  when  shaken,  and  thus  deceiving 
the  audience. 

The  section  of  the  box  is  shown  in  Fig.  14. 
There  are  various  arrangements  for  preventing 
the  slip  from  rattling.  One  arrangement  is 
shown  in  Fig.  15.  A  minute  pin,  passing  from 
the  outside  of  the  box,  is  fastened  to  a  piece  of 
spring  steel  curved  as  in  diagram ;  and  the  slip 
of  zinc  is  fastened  by  a  screw  at  one  end,  and 
reaches  the  whole  length  of  the  box,  and  is  held 
down  against  the  bottom  of  the  box,  when  not 
in  use,  by  the  spring.  When  the  zinc  is  required 
to  rattle,  the  performer  presses  the  pin,  which 
releases  the  tongue,  and  he  can  rattle  to  his 
heart's  content.  A  look  at  the  drawings  will 
explain  it  better  than  half  a  dozen  pages  of 
print.  Now  we  shall  require  the  end  to  open. 
If  you  look  at  Fig.  13,  you  will  notice  that  the 
ends  fit  in,  instead  of  butting  against  the  sides. 
Drill  a  small  hole  through  one  end,  then  pass  a 
pin  through  the  sides,  as  seen  at  b  (Fig.  14),  and 
the  side  will  work  on  a  pivot ;  so  that,  as  soon  as 
the  small  pin  is  pressed,  it  releases  the  pivot 


end  by  the  catch  being  released  from  the  hole 
(g,  Fig.  14) ;  and  by  slightly  tilting  the  box,  so 
that  the  coin  slips  against  the  moving  end,  the 
pressure  of  it  opens  the  end,  and  the  coin  slips 
into  the  hand.  The  box  end  is  shut ;  and  if  this 
is  well  made,  no  one  can  detect  the  "  fake." 

The  second  thing  is  a  prepared  card.  All 
that  you  have  to  do  is  to  take  a  card,  and  make 
a  slit  in  the  edge  large  enough  to  admit  a  two- 
shilling  piece ;  that  is  all  the  apparatus 
required.  Now  for  the  trick.  I  will  give  the 
"essence  of  the  patter,"  as  an  amateur  friend 
of  mine  always  calls  the  "  gag  "  : — 

"Ladies  and  gentlemen,  the  experiment  that 
I  am  about  to  make  (a  experiment  which 
always  takes)  is  that  of  the  flying  money.  Now 
money — silver  and  gold  especially — has  a  habit 
of  flying,  to  which  most  of  you  can  bear  witness. 
But  what  I  want  to  show  you  more  particularly 
is  that  I  can  make  it  travel — in  fact,  I  can 
make  it  go  a  long  way,  which  is  more  than 
some  of  you  can  say,  I  fancy.  I  have  here  a 
small  box,  which  is  perfectly  harmless,  and  can 
be  examined  by  anyone  who  is  anxious  to  catch 
me  in  a  trap.  In  fact,  "  it  is  all  wood,"  as  the 
boy  said  when  he  cracked  his  head  with  a 
beam.  Now  I  want  to  borrow  a  two-shilling 
piece.  What's  that  you  say,  sir  ?  Not  conjur- 
ing ?  Tou  lend  me  one,  and  see  if  I  can't  make 
it  vanish  in  no  time.  Ah  !  well,  we  will  let  that 
pass.  Thank  you.  Now  please  observe ;  I 
have  here  an  ordinary  pack  of  cards,  and  you 
may  examine  them  as  much  as  you  like.  Ah ! 
unbelieving  as  usual.  Never  mind ;  even 
Thomas  was  convinced  at  last,  as  I  hope  you 
will  be.  Please  draw  one  from  the  pack. 
That  will  do.  Don't  let  me  see  it.  Now  please 
place  it  inside  this  envelope,  and  give  it  to  me." 

Here  I  may  just  say  a  few  words  concerning 
the  pack  of  cards.  If  the  amateur  is  used  to 
"  forcing  "  the  cards,  let  him,  by  all  means,  use 
an  ordinary  pack.  But  if  he  be  a  novice,  he 
may  use  what  is  called  a  "  forcing  pack,"  which 
consists  usually  of  only  three  different  cards — 
queen  of  hearts,  five  of  spades,  and  seven  of 
spades,  for  example.  It  is  much  easier  to  use  ; 
but  if  he  does  not  "play  his  cards  well,"  there 
is  a  great  deal  more  danger  of  being  caught  by 
that  "  doubting  Thomas  "  before  mentioned. 


244 


A  MA  TE  UR    CONJURING. 


Messrs.  Theobald  'will  supply  the  "forcing 
pack,"  together  with  an  ordinary  one  of  the  same 
pattern  to  he  passed  round  for  examination.  I 
myself  never  use  a  "forcing  pack"  for  this 
trick. 


Observe,  I  seal  the  envelope,  and  ask  that 
twenty-stone  gentleman  to  sit  on  it.  Don't  be 
afraid,  sir !  " 

When  you  take  the  card  out  to  show  it  to  your 
audience,  replace  it  with  the  slit  in  the  edge 


F  I  C  .    14 


F 


*= — ^^S^ 


F IC.  i5. 

J) 

_                                              y 

t 

c 

1 

n 

-m_ 

■(?              ^ 

-°4r 

) 

i 

/ 

/ 

F 

■■'     * 

C        ^^  D 

DESCRIPTION  OF  FIGURES. 

FIG.  13  —  PERSPECTIVE  VIEW  OF 
RATTLE-BOX  COMPLETE.  FIG.  14. — 
SECTION  OF  BOX  ;  A,  SCREW  TO 
FASTEN  THE  TIN  SLIP  ;  B,  PIVOT  ON 
WHICH  THE  END  OF  THE  BOX  OPENS 
TO  ALLOW  COINS  TO  SLIP  OUT  INTO 
THE  PERFORMER'S  HAND  ;  C,  PIN, 
WHICH  ON  BEING  PRESSED  RAISES 
THE  (D)  CATCH  TO  ALLOW  THE  END 
TO  OPEN  AND  ALSO  (e)  THE  SLIP  OR 
RATTLE  ;  F,  SPRING  WHICH  KEEPS 
SLIP  IN  PLACE  ;  G,  HOLE  IN  WHICH 
CATCH  FITS.  N.B.  BV  PRESSURE  OF 
PIN  C,  BOTH  THE  CATCH  (D)  AND 
THE  SPRING  (F)  ARE  RAISED  AT  ONCE. 
FIG.    15.- 


-PLAN   OF   BOX. 


"Now,  is  there  a  gentleman  present  that 
weighs  twenty  stone  or  so  ? — the  heavier  the 
better.  Please  watch  this  part  of  the  trick  very 
closely.  I  place  the  florin  in  the  box  ;  so.  Will 
you  believe  that,  sir  ?  You  will !  Thank  you. 
Listen,  I  will  rattle  the  box,  so  that  all  may  be 
convinced  that  the  coin  is  really  there.  Kindly 
hold  it.  No  deception  ;  is  there  ?  Certainly 
not.  I  am  above  suspicion,  I  hope.  Now,  I 
take  the  envelope  with  the  card  in,  and  show  it 
to  all — except  myself.     You  will  know  it  again  ? 


upwards,  and  as  you  appear  to  put  the  card  quite 
straight  inside,  slip  the  florin  in  the  slit — you 
have  just  got  it  from  the  rattle-box — and  then 
seal  the  envelope. 

"Now  I  am  going  to  make  the  florin  pass 
from  that  box  into  the  envelope.  One,  two, 
three.  Pass !  Shake  the  box.  It  does  not 
rattle.  Pray  open  it.  See,  the  box  is  empty. 
Now,  you,  sir,  open  the  envelope,  if  you  please. 
What,  the  florin  nut  inside!  Let  me  see.  Why, 
it  went  with  such  force  that  it  has  gone  right 


SOME    CHAPTERS   ON  SIMPLE   ORNAMENTAL    TURNING. 


245 


into  the  card.    See  ;  is  it  not  so  ?    Thank  you, 
sir.     It  was  the  weight  that  did  it." 

That  is  the  trick.  A  more  elaborate  version 
is  as  follows : — The  card  is  drawn  from  the 
pack,  and  replaced.  An  empty  envelope  is 
shown  and  sealed.  The  envelope  is  sat  on 
just  the  same,  and  the  money  taken  from  the 
box.  The  sequel  is  that  the  card  is  found 
missing  from  the  pack  ;  the  envelope  is  opened, 
and  the  money  and  card  found^  therein,  as  in 
the  first  version. 


SOME     CHAPTERS     ON     SIMPLE 
ORNAMENTAL   TURNING. 

By'J.  L.  DWYER,  B.A. 


-Simplicity  of  Oknamental  Turning — Cost  of  Out- 
fit—General Outline  of  Method  Employed  in 
Ornamental  Turning. 

T  is  now  many  years  since  I  first  saw 

work  turned  out  something  like  that 

shown  in  Figs.  1  to  4. 

Up  to  that  time  I  was  acquainted  only  with 

the  ordinary  turner's  lathe,  with  its  plain  turn- 


FIGS.    I,    2,    3,    AND  4. — EXAMPLES   OF   ORNAMENTAL  TURNING. 


Even  this  simple  trick  demands  due  rehearsal ; 
otherwise  the  amateur  must  expect  iailure,  and 
prepare  to  be  "  sat  upon  "  himself  by  ridicule  as 
weighty  as  the  heavy  gentleman  referred  to. 


ing,  and  I  could  scarcely  believe  that  the 
beautiful  work  which  I  was  shown  was  actually 
turned.  I  thought  it  might  have  been  done  by  a 
carver,  but  not  by  a  turner. 


246 


SOME    CHAPTERS   ON  SIMPLE   ORNAMENTAL    TURNING. 


The  process  was  at  last  explained  to  me  by  a 
kind  old  friend  who  was  very  clever  at  such 
work. 

Its  simplicity  astonished  me,  and  when  I  saw 
all   the  tools,  and  that   it  required  no  special 


set  I  would  have  to  pay  £10 ;  but  there  is  some- 
times an  advantage  in  being  an  amateur. 

I  propose  in  these  papers  to  explain  how  an 
amateur  possessed  of  a  lathe  and  slide-rest,  and 
who  is  moderately  clever  at  metal  manipulation, 


7bo/  < 


F  l  C  5  Gmrtg  a  gena"al 
idea,  cHuow  nrramijaubal 


,  Jo  O    o 

f$  op  _o 


•  m 

°ooo 
2  o  o° 

O  OQO 
300° 

oo°ift 


°°oooooooo°  Oo 


ocooooopJJJJjo 


.oo>ooouoooo  >o 

SOOOOOOOOOO^^ 


Sere 


nc.6 

DiFtswri_plate,  quarter  sixe 


F  i  C .  7  Eccentric  cutter- 


skill  either  to  make  or  use  them,  I  conceived 
the  idea  of  making  them  for  my  lathe. 

They  have  now  been  in  working  order  for 
some  time,  and  turn  out  excellent  work,  as  can 
be  seen  from  the  engravings. 

The  whole  cost  of  my  outfit,  omitting  lathe 
and  slide-rest,  was  about  10s.  This  was,  of 
course,  for  the  rough  materials ;  for  a  finished 


can,  in  a  few  weeks,  fit  up  his  lathe  for  doing 
the  work  shown  here — cutting  cog-wheels,  doing 
fluting  and  many  other  jobs  unattainable  by  the 
ordinary  method.  I  will  write  for  those  who 
can  do  ordinary  turning,  but  have  never  seen 
such  work  done  as  is  illustrated. 

If  a  careful  examination  be  made  of  Figs.  1 
and  '2,  it  will  be  seen  that  the  patterns  consist  of 


PRACTICAL    ORGAN  BUILDING. 


247 


a  series  of  circles  eccentric  with  the  wood,  and 
intersecting  each  other,  but  occurring  with  very 
great  regularity. 

Now,  a  large  part  of  simple  ornamental  turn- 
ing consists  of  such  circles.  If  we  draw  circles 
on  the  surface  a  certain  distance  apart,  they  look 
nothing,  but  if  they  are  sunk  into  the  wood  with 
a  pointed  V  tool,  they  look  very  pretty  indeed. 
An  idea  could  scarcely  be  formed  of  this  work 
unless  it  were  seen.  "We  may  take  it,  then,  that 
we  are  required  to  solve  this  problem.  Given 
a  piece  of  wood  stuck  to  the  face-plate  of 
a  lathe,  and  turned  true  ;  to  form  on  it  certain 
circles  eccentric  with  the  wood,  sometimes  of 
varying  sizes,  but  whose  size,  distance  apart, 
and  depth  can  be  regulated  with  the  greatest 
nicety  and  exactness  A  general  outline  of  the 
way  in  which  this  is  done  is  shown  at  Fig.  5. 

The  wood  is  fastened  to  the  face-plate  with 
glue,  or  otherwise.  The  driving  band  is  taken 
off  the  lathe,  and  a  pointer  put  in  position, 
which  prevents  the  mandrel  from  revolving.  To 
make  this  clear,  I  must  mention  that  the  pulley 
of  the  headstoek  is  pierced  by  a  number  of  holes 
at  equal  distances  apart,  as  seen  in  Fig.  6,  and 
a  point  falling  into  one  of  these  holes  prevents 
the  mandrel  from  revolving  until  released.  An 
eccentric  cutter  is  then  put  into  the  slide-rest 
and  the  desired  eccentricity  being  given  to  the 
tool,  it  is  brought  by  means  of  the  slide-rest 
handles  to  face  any  desired  part  of  the  wood, 
and  a  revolving  motion  being  given  to  it,  it  is 
moved  forward  until  it  cuts  a  circle  in  the  wood. 
A  atop  is  then  fixed  to  prevent  it  going  any 
further,  the  mandrel  is  revolved  by  hand  a 
certain  distance,  another  circle  is  cut  (the  stop 
preventing  it  being  too  deep  or  shallow),  and  this 
operation  is  repeated  until  the  pattern  is  carried 
right  round  the  wood. 

Now,  I  am  afraid  a  good  deal  that  I  have 
written  is  unintelligible  to  those  who  know 
nothing  of  such  matters,  but  the  chief  difficulty 
will  probably  be  found  in  not  knowing  what  the 
eccentric  cutter  is  like,  and  how  motion  is  given 
to  it.  It  is  essentially  a  disc  revolving  on  an  axle 
with  a  tool-holder  on  its  face,  which  may  be  at 
the  centre  or  any  desired  distance  from  it.  Fig.  7 
gives  a  notion  of  what  it  is  like.  The  axle  is 
square  for  fixing  in  the  slide-rest,  the  body  has 


grooves  for  a  driving  band,  and  the  tool-holder 
is  moved  to  and  from  the  centre  by  means  of  a 
screw,  while  the  tool  is  secured  by  a  small  set 
screw.  Motion  is  given  to  it  by  means  of  an  over- 
head motion,  which  is  essentially  some  means  of 
transmitting  motion  from  the  fly-wheel  to  the 
eccentric  cutter  held  in  the  slide-rest,  without 
having  the  bands  so  as  to  interfere  with 
manipulation. 

The  overhead  should  also  have  some  arrange- 
ment to  keep  the  band  always  "  taut "  ;  a  fixed 
band  would  not  do,  as  between  the  fly-wheel 
and  headstoek  pulley,  as  the  eccentric  cutter 
being  traversed,  the  band  should  have  play 
enough  to  follow  it. 

Having  premised  by  these  remarks,  I  will,  in 
a  future  number,  give  exhaustive  directions 
for  making  (1)  the  eccentric  cutter,  (2)  the 
fluting  cutter,  (3)  the  overhead,  (4)  the  pointer, 
(5)  the  division  plate,  (6)  the  stops,  and  conclude 
with  some  directions  for  working  the  patterns. 


PRACTICAL  ORGAN  BUILDING. 

By  "  ORGAN  BUILDER." 


IV.— Wood  Pipes. 
N  the  foregoing  chapter  we  had  the 
method  of  the  collection  of  the  wind 
supply  for  the  organ  under  considera- 
tion. In  this  we  take  in  hand  the  construction 
of  the  sound-producing  section,  which  receives 
the  air  already  provided,  and  sends  forth  tone, 
both  loud  and  soft,  to  hold  enraptured  the  thou- 
sands of  sympathetic  listeners  who  may,  per- 
chance, be  assembled  to  hear  the  instrument 
performed  upon  by  a  master  hand.  In  the 
remarks  to  follow,  I  shall  not  only  describe  the 
mechanism  of  the  pipes  we  shall  use  in  our 
organ,  but  I  shall  give  some  idea  as  to  the  con- 
struction and  scales  of  the  many  stops  frequently 
met  with  in  our  church  organs  ;  so  that  should 
anyone  feel  disposed  to  attempt  the  building  of 
a  larger  instrument,  he  should  have  a  wider 
selection  of  scales  from  which  to  choose ;  he  will 
thus  have  the  means  whereby  he  may  increase 
both  volume  and  variety  of  tone. 

The  reason  why  I  have  advised  our  energetic 
amateur  to  obtain  the  metal  pipes  ready  made 


248 


PRACTICAL    ORGAN  BUILDING. 


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PRACTICAL    ORGAN  BUILDING. 


249 


is,  because  in  an  organ  factory  the  metal  work 
is  done  by  an  entirely  independent  set  of  work- 
men, who  use  expensive  tools  and  benches  that 
no  ordinary  hand  would  think  of  providing ; 
indeed,  there  would  be  no  necessity  for  obtain- 
ing them.  Again,  the  true  voicing  of  metal 
pipes  is  a  very  difficult  operation,  and  to  any  in- 
experienced workman  the  work,  requiring  such 
particular  care,  would  be  very  long  and  tedious  ; 
whereas  the  pipes  made  by  a  professional, 
are  voiced  and  ready  for  insertion  in  the  organ. 
The  bellows  and  sound-board  may  be  finished  in 
the  best  possible  manner,  and  the  case  look  most 
elaborate ;  but  the  instrument  is  thought  nothing 
of  if  the  tone  of  the  pipes  is  thin  and  wheezy. 
This  quality  is  often  the  result  of  the  labours  of 
amateur  voicers,  and  I  am  sorry  to  say  even  some 
professionals.  There  is  no  great  difficulty  in  the 
making  of  wood  pipes.  The  main  secret  of  good 
tone  lies  in  the  accurate  adjustment  of  the 
various  parts,  and  good  joints ;  good  material, 
of  course,  is  taken  for  granted. 

The  various  stops  are  spoken  of  as  1 6,  8,  4, 
and  2  feet  tone  stops ;  they  are  so  termed  be- 
cause the  respective  measurements  represent  the 
standard  length  of  the  longest  pipe  of  the 
different  series.  This  is  C  C  on  the  key-board, 
the  second  ledger  line  below  the  stave  in  the 
bass  clef  in  music. 

Eight-feet  tone  stops  are  the  unison  or  foun- 
dation stops  of  all  organs  ;  under  this  heading 
an  open  pipe  8  feet  long  would  be  required  to 
sound  C  C.  It  does  not  follow  that  the  pip*  s 
are  to  be  carried  right  down  to  the  lowest  note, 
to  give  it  a  claim  to  the  title  of  8-feet  tone  stops, 
— they  may  stop  anywhere;  but  if  they  were  to  be 
taken  down  to  the  C  C,  it  would  be  necessary  to 
have  a  pipe  8  feet  long,  except  in  the  case  of 
stopped  pipes.  In  these  exceptions,  the  top  of 
the  pipe  is  closed  in  with  a  stopper,  which 
causes  a  double  current  of  air  inside,  so  that 
although  at  C  C  the  pipe  is  only  4  feet  long,  it 
is  called  an  8-feet  tone  pipe,  because  it  gives  the 
same  note  as  an  open  pipe  8  feet  long.  The 
open  diapason,  gamba,  dulciana,  salcional,  and 
claribella  are  the  commonest  specimens  of  8  feet 
opens ;  while  stopped  diapasons,  gedacts,  and 
doppel  flutes  are  stopped  pipes,  sounding  the 
same  length  of  tone. 


Four-feet  tone  stops,  represented  by  princi- 
pals, octaves,  and  flutes,  are  tuned  an  octave 
higher  than  the  unison  stops ;  and  the  C  C  of 
each  series  would  be  4  feet  long.  In  these  stops, 
the  pipes  would  be  half  the  length  of  the  8-feet 
tones,  with  the  exception  of  the  harmonic  flute  ; 
in  this  instance,  the  notes  from  fiddle  G  (the 
fourth  space  in  the  bass)  are  taken  up  to  the  top 
of  the  scale,  with  pipes  twice  the  length  of  the 
ordinary  4  feet  open  stops.  Each  pipe  is  per- 
forated by  a  small  hole  through  the  metal,  half- 
way between  the  mouth  and  the  top,  which 
produces  a  quality  of  tone  obtainable  from  no 
other  pipe  than  those  of  the  harmonic  series. 
The  4-feet  stops  sound  (acoustically  speaking) 
the  first  harmonic ;  the  second  harmonic  intro- 
duces a  stop  called  a  twelfth.  This  stop  is  never 
seen  in  organs  containing  less  than  twenty  stops. 

Two-feet  tone  stops  sound  two  octaves  above 
the  unison;  the  fifteenth  piccolo  and  octave  flute 
are  specimens  of  this  series. 

In  some  instruments,  a  16-feet  tone  stop  (one 
octave  below  the  unison)  is  introduced  on  the 
pedal  organ ;  while  in  organs  of  greater  mag- 
nitude, it  is  put  on  the  manuals.  The  16-feet 
tone  can  be  produced  by  stopping  an  8-feet  open 
pipe,  in  the  same  way  as  the  stopped  4-feet 
sounded  the  8-feet  tone.  In  many  of  our  large 
church  and  cathedral  organs,  containing  fifty  or 
stxty  stops,  a  32-feet  tone  stop  (two  octaves 
below  the  unison)  is  used  on  the  pedals ;  and  in 
the  finest  organ  in  the  world,  lately  gone  abroad, 
a  64-feet  tone  stop  (full  length)  had  a  place 
amongst  the  140  knobs  in  the  console. 

Having  given  some  idea  as  to  the  speaking 
length  of  the  various  stops,  I  will  describe  the 
way  in  which  the  wood  pipes  are  made  to  pro- 
duce the  mellow  ton9  of  the  instrument. 

First  of  all,  a  scale  muat  be  made  to  work  to 
(the  inside  measurement  of  any  pipe  is  the  scale 
of  that  note) ;  get  a  piece  of  J-ineh  stuff  4  feet 
6  inches  long,  4  inches  wide,  and  very  carefully 
set  it  out  like  Fig.  31.  The  line  a  reprt-st  nts 
the  width,  and  b  the  depth,  from  front  to  back 
of  each  note  internally.  The  measurements 
with  the  diagram  are  so  given  as  to  need 
no  explanation  here ;  the  cross  lines  are  the 
speaking  length  of  each  semitone.  The  stopped 
diapason   and  open  diapason,  down  to  tenor  C, 


250 


PRACTICAL    ORGAN  BUILDING. 


will  be  constructed  from  this  scale.  Fig.  32  is 
the  scale  for  the  lowest  thirteen  notes  of  a  wood 
open  diapason,  and  is  made  out  of  J-inch  stuff, 
7J  inches  long  by  6  inches  wide.  This  is  the 
size  of  C  C.  In  our  case,  however,  we  shall  only 
require  the  notes  from  G  G  upwards  from  this 
scale,  and  Fig.  31  will  be  used  in  continuation. 
a  (Fig.  32)  gives  the  size  for  this  note  (4  inches 
wide  by  4£  inches  deep). 

Being  thus  far  prepared  with  working  scales, 
we  suppose  that  the  open  diapason  is  to  be  made 
of  wood.  The  first  thing  to  be  done  is  to  glue 
up  pieces  of  thick  stuff  for  the  blocks.  The 
largest  note  is  G  G,  and  will,  with  the  semitone 
above,  require  blocks  6  inches  long.  The  four 
notes  above  will  have  blocks  5  inches  long, 
making  a  total  of  2  feet  8  inches.  By  carefully 
planing  three  pieces  of  1^-inch  stuff,  A\  inches 
wide,  2  feet  10  inches  long,  with  a  piece  of  \ 
inch  mahogany  on  the  front  side,  same  length 
and  width,  the  depth  of  the  pipe  (4£  inches) 
may  be  obtained.  (All  blocks  must  be  faced 
with  mahogany).  The  pieces  need  not  of  neces- 
sity be  \\  inches  thick  ;  any  number  of  thinner 
pieces  may  be  used,  only  the  thicker  the  stuff 
the  less  joints  will  be  made.  Glue  up  pieces 
together  in  this  manner  for  every  half-dozen 
notes,  which  will  constitute  a  convenient  work- 
ing length  for  the  blocks.  At  G,  above  tenor  C, 
the  blocks  up  to  the  note  will  all  be  made  of 
mahogany,  thus  saving  the  trouble  of  using 
more  than  one  thickness  of  stuff.  A  piece  of 
H-inch  stuff  comes  in  for  this  note  ;  and  when 
manageable,  use  1-inch  stuff,  and  so  on  wherever 
the  different  thicknesses  will  allow.  Made-up 
blorks  should  be  handscrewed  together  until  the 
glue  is  quite  hard,  to  make  sure  of  a  good  joint. 
Now  plane  the  mahogany  face  quite  true,  out  of 
winding,  straight  from  end  to  end,  straight 
across,  and  square  one  side  irom  this  front.  This 
faced  side  and  front  must  be  preserved  until  the 
length  is  used  up.  Mark  the  direction  in  which 
the  mahogany  planes,  square  one  end  across, 
and  plane  it  with  a  sm  othing  plane  irom  front 
to  back.  (All  the  blocks  must  plane  from  the  top 
to  the  bottom  ;  this  will  be  found  a  great  advan- 
tage later  on.)  The  ends  need  not  be  quite 
square  from  front  to  back,  but  on  no  account 
must  the  back  be  higher  than  the  front ;  gauge 


the  whole  length  strictly  parallel  both  in  width 
and  depth  (4  inches  by  4f  inches  deep;,  making 
the  other  side  of  the  piece  square  with  the  front. 
Mark  off  one  length  of  block  (6  inches  for  the 
first),  and  from  the  top  end  make  lines  at  4  and 
5  inches  across  the  mahogany ;  square  these 
down  the  sides,  and  with  a  panel  saw  cut  the 
two  lines  right  through  the  log,  with  the  excep- 
tion of  \  an  inch.  As  the  blocks  diminish  in 
size,  these  kerfs  will  be  made  deeper ;  the  top 
note  leaves  \  inch  uncut.  The  piece  between 
the  two  lines  is  called  the  throat.  Now  cut  right 
through  the  6-inch  line,  and  the  piece  thus 
detached  is  the  first  block,  which  should  show 
like  a,  Fig.  33.  Letter  each  on  the  top  piece 
and  on  the  throat.  Fix  the  remainder  in  the 
screw,  plane  the  end,  gauge  it  to  the  width  and 
depth  of  the  next  semitone  higher  on  the  scale, 
and  work  it  up  in  precisely  the  same  manner  as 
I  have  just  described. 

Next  prepare  the  sides  for  the  bodies  of  the 
pipes  :  from  G  G  to  C  C  f-inch  stuff  will  be 
used,  \  inch  at  C  C  sharp,  §  inch  at  tenor  C, 
while  at  the  top  note  it  will  finish  ^  inch  thick. 
The  length  of  side  for  the  two  lowest  notes  will 
be  6  feet  6  inches,  and  the  next  four  6  feet.  It 
may  seem  rather  odd  that  there  should  be  more 
than  one  pipe  the  same  length,  considering  that 
the  notes  are  entirely  different ;  but  it  must  be 
remembered  that  we  have  already  agreed  that 
these  pipes  are  to  show  in  the  end  bays  of  the  case, 
which  would  have  a  decidedly  queer  appearance 
if  the  three  pipes  on  either  side  were  all  unequal 
lengths.  With  regard  to  the  difference  of  the 
notes,  we  shall  see  to  that  as  the  work  advances. 

In  cutting  out  the  sides,  allow  f  inch  wider 
for  the  largest  notes  more  than  the  actual  depth 
of  the  block,  and  bear  in  mind  that  the  pipe  side 
is  fastened  to  the  side  of  the  block,  not  across 
the  front ;  many  hundreds  of  pipes  have  been 
cut  out  wrongly  through  non-attention  to  this 
simple  little  fact.  Plane  one  side  of  each  piece 
(not  particularly  true,  so  long  as  it  is  not  round 
across),  and  shoot  one  edge  straight  and  square  ; 
wet  the  surface  that  has  not  been  smoothed,  and 
cover  the  other  side  with  a  coating  of  thin  hot 
size.  Any  flukey  place  or  knots  should  be 
covered  with  leather,  as  the  latter  are  often 
inclined  to  drop  out ;  this  would  spoil  the  note 


PRACTICAL    ORGAN  BUILDING. 


2.51 


at  once.  With  a  f  inch  chisel,  take  out  the 
throat  of  the  block  ;  some  care  must  be  bestowed 
on  this  operation,  as  the  piece  may  split  any  way 
but  the  way  in  -which  it  is  required.  Hold  the 
chisel  with  the  bevelled  part  to  the  back  of  the 
block,  and  tap  it  a  little  from  one  side,  and  then 
from  the  other  ;  the  piece  should  then  come  out 
moderately  clean.  If  the  throat  splits  to  pieces, 
either  glue  the  bits  together,  or  cut  out  a  piece 
of  stuff  the  size  of  the  block ;  the  former  is  the 
better  way,  as  the  throat  is  only  used  tem- 
porarily, and  it  must  be  exactly  the  same  width 
as  the  block.  Lay  the  two  sides  on  a  true  board, 
faced  edges  downwards,  glue  the  block  between 
them  at  the  bottom  end,  and  fix  a  handserew  on, 
to  hold  the  three  pieces  till  dry  ;  glue  the  throat, 
and  put  it  between  the  sides  at  the  top  end,  to 
keep  them  apart  exactly  the  same  distance  as 
the  bottom ;  pass  a  brad  through  each  side  into 
the  throat  piece,  to  hold  it  till  set. 

While  these  are  drying,  cut  the  fronts  and 
backs  out  of  material  the  same  thickness  as  the 
sides,  remembering  that  now  there  are  \\  inches 
added  to  the  width  of  the  block.  Each  front 
and  back  should  be  f  inch  wider  than  the  dead 
width.  The  fronts  for  the  six  low  notes  may  be 
9  inches  shorter  than  the  sides.  Lay  the  pieces 
of  pipe  already  connected  on  the  bench,  with 
tbe  bottom  end  of  the  block  against  the  bench 
stop  (if  the  stop  is  an  iron  one,  or  a  wooden 
one  with  iron  prods  in,  put  a  piece  of  wood  be- 
tween the  block  and  the  stop  ;  the  marks  do  not 
look  very  pretty  on  the  ends  of  pipes  or  any- 
thing else),  and  plane  over  the  already  short 
edges.  The  top  and  bottom  ends  should  be 
quite  out  of  winding  with  one  another ;  to  do 
this  get  two  pieces  of  J-inch  mahogany  10  inches 
long,  2  inches  wide,  strictly  parallel,  and  place 
one  across  the  block,  and  the  other  from  side  to 
side  at  the  top  end  of  the  pipe.  Look  from  one 
to  the  other,  and  see  if  the  two  pieces  are  exactly 
on  a  level ;  if  not,  plane  away  the  side  at  the 
top  end  (not  the  block,  under  any  consideration) 
until  the  winding  sticks  come  here.  If  the  sides 
are  put  on  correctly,  the  block  should  only 
require  one  shaving  off;  this  is  why  the  grain 
of  the  mahogany  faciDg  is  made  to  plane  from 
top  to  bottom ;  if  it  went  the  reverse  way,  the 
plane,  no  matter  how  fine  a  shaving  it  took  off, 


is  liable  to  catch  the  bottom  piece  of  the  block, 
and  split  it  off.  Before  shooting  the  front,  a 
piece  of  i-inch  stuff,  1  inch  wide,  \  inch  longer 
than  the  width  of  the  block,  should  be  put  be- 
tween the  sides  at  half  the  distance  of  the 
length  ;  this  keeps  them  apart,  and  makes  the 
pipe  a  trifle  larger  in  the  middle.  A  pipe  smaller 
in  the  centre  than  the  ends  is  bound  to  give  a 
bad  note.  All  pipes  up  to  2  feet  long  should 
have  this  strut. 

Now  gauge  the  depth  of  the  block  outside  the 
sides,  at  the  ends  and  middle ;  plane  them  so 
that  the  back  edges  are  T^  inch  wider  in  the 
middle  than  the  ends.  This  bulging  should  not 
be  straight  from  the  middle  to  the  ends,  but  a 
general  round  the  length  of  the  pipe.  Bore 
through  the  back  the  holes  for  the  \\  inch  nails 
to  pass  through  (6  inches  apart),  and  put  the 
nails  into  their  places ;  size  the  inside  after 
having  fitted  the  back  on  dry  ;  knock  a  nail  at 
each  end  partly  home,  so  as  to  be  able  to  put 
the  piece  on  in  the  same  position  again.  Now 
glue  the  edges,  and  very  quickly  nail  the  back 
to  the  sides ;  no  nails  should  be  put  into  the 
bottom  part  of  the  block. 

Prepare  some  stuff  for  the  lips  (b,  Fig  35) 
for  G  Gr  and  the  next  note  6  inches  wide,  and  5 
inches  for  the  next  four  following  ones  ;  get 
them  out  of  inch  mahogany  in  this  instance, 
to  give  the  pipe  a  more  ornamental  appearance, 
but  in  other  cases  pine  will  be  used.  Plane  one 
side  of  the  piece  for  two  {\  inch  long)  quite 
true,  finishing  the  stuff  as  thick  as  it  will  hold. 
Eebate  the  back  down  \  inch  from  the  top  edge, 
§  inch  deep,  mark  |  inch  from  the  top  front 
edge,  and  on  the  bottom  edge  gauge  £  inch  from 
the  back,  and  plane  the  front  on  a  bevel  to  meet 
these  two  lines.  Finish  it  off  nice  and  smooth 
with  fine  glasspaper;  serve  a  piece  21  inches 
long,  5  inches  wide,  in  the  same  way,  and  cut 
the  lengths  into  small  pieces  \  inch  longer  than 
the  external  measurement  of  the  pipes  to  which 
they  are  to  be  attached.  Measure  \  of  the 
width  of  the  block  of  each  pipe  with  a  pair  of 
compasses,  and  mark  the  distance  on  each  side 
above  the  block  ;  stick  a  small  brad  a  little  way 
in  on  this  mark,  glue  the  piece  of  lip,  and  lay  it 
across  the  pipe  so  that  \  inch  projects  over  each 
side,  and  the  thin  edge  of  the  lip  comes  up  to 


232 


PRACTICAL    ORGAN  BUILDING. 


the  brads,  and  fix  it  with,  three  sprigs  into  the 
side  at  each  end.  The  holes  for  theso  brads 
should  be  bored  with  a  fine  pin-bit ;  otherwise 
the  end  is  almost  certain  to  split  out. 

Now  make  a  tongue  on  the  bottom  end  of  the 
front  \  inch  long,  f  inch  thick,  to  fit  exactly 
into  the  rebate  made  on  the  lip.  Take  particular 
care  the  top  edge  of  the  lip  and  the  shoulder 
across  the  front  form  a  good  joint,  or  the  look 
of  the  pipe  will  be  spoiled. 

Prepare  some  stuff  for  the  ears  (c,  Fig.  35), 
cut  out  of  f-ineh  mahogany,  If  inches  wide; 
the  best  way  to  make  these  is  to  prepare  sufficient 
length  to  supply  the  four  ears  for  two  pipes. 
Square  one  end  quite  true,  and  put  it  to  a  line 
on  the  side  A-inch  below  the  top  edge  of  the 
block,  with  the  bottom  edge  of  the  mahogany 
running  flush  with  the  under  side  of  the  front ; 
hold  it  in  this  position,  and  with  a  point  mark 
the  shape  of  the  lip  on  the  piece,  and  where  the 
bevel  on  the  front  ceases  will  give  the  top  end 
of  the  ear,  cross-cut  one  length  off,  fit  it  on  to 
its  place,  and  fix  it  there  with  brads  through 
the  lip  into  the  sides  of  the  pipe.  Be  careful 
not  to  split  the  ears,  or  another  will  have  to  be 
made.  Now  form  the  caps  (d,  Fig.  35) ;  these 
are  made  out  of  f-inch  m»hogany  the  same 
length,  and  a  trifle  wider  than  the  blocks  they  are 
to  cover.  The  inside  is  planed  true,  and  ^-inch 
hollowed  out,  as  seen  in  e,  Fig.  35.  The  handiest 
way  of  making  them  is  to  set  out  a  number  on 
a  piece  of  mahogany  board,  with  each  end  shot 
true ;  hollow  them  out,  and  then  separate  them, 
and  i-hoot  the  bottom  ends.  The  small  aperture 
on  the  inside  top  end  must  not  be  made  for 
a  while.  Each  cap  will  be  fixed  dry  to  the  pipe 
with  three  l£-inch  screws— round  heads  look 
best;  thny  will  not  be  fastened  permanently 
until  ihe  pipes  have  been  voiced ;  an  operation 
to  follow  later  on. 

It  will  be  noticed  that  a  piece  (f,  Fig.  35)  "is 
fastened  to  the  top  of  the  outside  of  the  cap— 
this  is  called  the  beard  ;  it  is  simply  a  piece  of 
f-inch  mahogany  \\  inches  wide,  glued  to  the  cap 
with  a  couple  of  flat  headed  screws  passed  into 
it  from  the  inside.  Take  a  smooth  shaving  off 
the  cap  before  fixing  the  beard.  Clean  off  the 
top  and  bottom  ends  of  the  pipes  with  a 
smoothing  plane.     Each  pipe  is  provided  with 


a  foot  like  h  (Fig.  33),  to  convey  the  wind  from 
the  hole  over  which  it  is  placed  into  the  pipe. 
h  is  a  seetion  of  the  largest  size  we  shall  use  ; 
it  is  turned  out  of  a  piece  1  f-inch  yellow  deal, 
with  a  pin  1  inch  long  at  one  end,  and  a  1  inch 
hole  up  the  middle.  As  the  pipes  increase  in 
size  they  require  larger  feet.  As  a  rule,  eleven 
sizes  are  used  for  4-feet  stops,  varying  from 
H  inches  externally,  with  a  J  inch  hole  up  the 
centre  to  f  inch  and  a  tV  inch  hole.  The  six 
smallest  sizes  are  turned  out  of  mahogany.  To 
anyone  not  in  possession  of  a  lathe,  these 
articles  may  be  purchased  ready  made  at  a  very 
reasonable  rate.  All  the  sizes  are  6  inches 
long  from  the  shoulder.  The  pin  of  the  foot  is 
fixed  in  the  bottom  part  of  the  block.  Ascertain 
the  centre  of  the  pipe,  mark  with  a  centre-bit 
the  size  round,  and  with  a  pin -bit  bore  a 
number  of  small  holes  within  the  circle,  and 
chop  them  into  one  another  with  a  gouge.  It 
would  be  as  well  to  fix  a  handscrew  across  the 
block  while  the  foot  is  being  fitted  in.  The  pin 
should  be  quite  tight,  and  be  glued  in  (not  at 
present),  to  prevent  any  air  escaping. 

Now  plane  the  pipe  up  all  round  nice  and 
smooth,  and  chamfer  off  the  sharp  corners  a 
trifle  with  a  smoothing  plane ;  two  shavings 
will  be  sufficient.  I  have  omitted  one  most 
important  detail:  that  is,  18  inches  of  the 
bottom  end  of  the  front  should  be  smoothed 
over  before  it  is  glued  to  the  sides.  All  super- 
fluous glue  that  squeezes  out  between  any  two 
pieces  should  be  washed  off  with  a  sponge  and 
hot  water.    The  note  is  for  the  present  complete. 

Figs.  33,  34,  and  35  represent  the  B  B  of  an 
open  diapason,  supposing  it  to  be  the  dead- 
speaking  length.  In  our  case  we  shall  require 
18  inches  added  to  this  measurement.  Fig.  35 
is  the  lower  end  and  the  component  parts  for 
the  bottom  of  the  pipe.  The  letters  in  all  three 
diagrams  correspond  with  one  another ;  and,  I 
think,  with  the  drawings  and  directions,  an 
ample  idea  as  to  the  construction  of  the  six 
lowest  notes  of  the  open  diapason  will  have 
been  given. 

In  ordinary  stops,  the  beard,  ears,  and  lip 
pieces  are  not  put  on  pipes  less  than  6  feet  long 
(i>elow  G  G)  ;  they  are  to  be  used  for  the  smaller 
six  notes,  to  take  away  the  plain  look  of  the  pipes. 


A  FRET-WORK  NOTE   RACK. 


253 


A  FRET-WORK  NOTE  RACK. 

By  ED.  C.  ROE,  Jun.,  Silver  and  Bonours  Medallist,  City 
and  Guilds  of  London  Institute. 


I  H !  an  extremely  useful  thing,  and 
quite  an  ornament."  This  being, 
there  is  every  reason  to  believe. 

opinion  candidly  expressed,  I  venture  to  place 

the  article  referred  to  before  you  this  month. 
In   the  first  place,  it  is  useful,  because 

it  forms  a  receptacle  for  all  those  little 

pieces   of  paper   which  it  is   often 

advisable  to  preserve  for  future 

reference,  and  which,    if 

left  lying  about,  are 

apt   to   get 


more  practical 


will   proceed  at  once  with  the 
portion  of  the  work. 

It  is  advisable,  as  a  preliminary  measure,  to 
consider   of  what   material  our  rack  shall   be 


a- 


destroyed  by  the  ruthless 
hand  of  that  destroyer 
of  small  and,  too  often, 
large  things,  the  house- 
maid. 

The  second  considera- 
tion I  am  quite  willing  to 
leave  inthereader'shands, 
feeling  comparatively  sure 
that  the  remark  which 
commences  this  paper  will 
be  fairly  borne  out. 

If  I  may  venture  to  add 
a  "lastly"  to  the  list, 
such  an  article,  hanging 
near  at  hand,  over  the 
writing  table,  tends  to 
encourage  tidiness,  which, 
it  must  be  acknowledged, 
is  a  great  desideratum. 

The  foregoing  will  no 
doubt  form  sufficient  in- 
troduction to  the  subject 
in  hand,  and  therefore  we 


BACK  BOARD. —REVERSE 
PATTERN  ON  OTHER 
SIDE  OF  CENTRE  LINE, 
a,  0.  B,  SECTION  OF 
BEAD. 


made.  The  construction  of  the  rack  is  simply  a 
fret,  cut  and  mounted  on  a  backing  of  wood 
similar  in  thickness,  the  back-board  having  a 
bead  fixed  round  the  edge  ;  the  front  piece  has 
a  bead  planted  on  the  back-board,  the  fret  being 
fitted  in  afterwards.  This  is  a  brief  description, 
but  will  serve  to  make  my  meaning  clearer.  The 
two  frets  may  be  cut  in  holly  wood  or  maple,  the 
back-boards  and  beads  in  rosewood  or  tulip 
wood ;  either  combinations  look  neat  and  well 
when  polished.  Of  course,  I  make  this  as  a 
suggestion  only  ;  other  combinations  of  different 
woods  might  look  equally  well.  It  is  not  always 
best  to  act  in  accordance  with  another  person's 
taste  ;  but,  at  any  rate,  my  suggestion  gives  an 
idea  as  to  the  general  arrangement. 

The  drawings  are  full  size,  whole  elevation 
of  front  piece  being  given,  and  half  elevation  <if 
back-board,  the  pattern  on  which  repeats 
on  the  reverse  side ;  section  through  edges  of 
each  giving  beads  shown  at  a  and  b. 

It  is  not  necessary  to  give  dimensions  in 
figures,  as  such  can  be  ascertained  from  the 
drawings.     Be  careful  when  mounting  the  frets 


254 


ME  TAL-  TURNING. 


on  backs,  to  prevent  any  glue  exuding 
between  the  pattern.  If  thought  well  of,  the 
back-boards  might  be  polished  prior  to  fixing 
frets ;  but  the  fret,  in  this  case,  must  be 
screwed  from  the  back,  by  means  of  a  few 
small  screws. 


The  outside  bead  on  back  piece  can  be  glued 
on ;  a  pin  or  two  being,  perhaps,  advisable 
when  bending  round  curve.  The  following  hint 
may  be  acted  upon  with  advantage :  first 
bend  and  fix  the  bead  round  curve,  and  then 
mitre  the  ends.  By  going  this  way  to  work, 
we  shall  ensure  more  accurate  fit- 
ting at  the  mitres. 

The  beads  are  best  worked  on  the 
edge  of  a  piece  of  stuff  the  same 
thickness  as  the  finished  width  of  the 
bead,  and  then  ripped  off.  When 
all  is  ready,  the  front  piece  can  be 
hinged  to  the  back,  by  means  of  a 
pair  of  f-inch  light  brass  butts,  and 
having  procured  a  piece  of  thin 
leather,  or  cloth,  cut  a  couple  of 
wedge-shaped  pieces  for  the  purpose 
of  supporting  the  front,  making 
good  fold  marks,  so  that  when  the 
rack  is  closed  up,  the  leather  will 
fold  inside.  Use  glue  under  pressure 
to  fasten. 

Believing  sufficient  has  been  written 
to  make  everything  clear,  I  take  my 
leave,  trusting  that  when  completed 
the  return  for  the  outlay  of  time 
and    patience    will    be    considered 

ample. 

-• 

METAL-TURNING. 

By  A  FOREMAN  PATTERN  MAKER. 

I. — Choice  of  the  Lathe. 
HEN  we  consider  the  beauty 
of  turned   work,    and  the 
ease,  in    comparison  with 


FRONT   HECE,    FULL   SIZE.      A,    bECTlOM    OF    BEAD. 


many  other  mechanical  processes,  by 
which  it  is  accomplished,  we  find 
ample  cause  and  justification  of  the 
popularity  of  this  branch  of  work 
among  amateurs.  There  are  very 
few  people  of  mechanical  tastes, 
whether  in  humble  or  in  wealthy 
circumstances,  who  do  not  possess  a 
turning-lathe  of  some  kind,  and 
employ  some  of  their  leisure  hours 
in  the  production  of  work  of  beauty 
or  of  utility. 


METAL-TURNING. 


255 


The  character  of  the  turning  that  is  done  is 
largely  governed  by  the  character  of  the  lathe 
possessed,  and  of  the  materials  used.  Between 
the  country-made  lathe — made  and  fitted  almost 
wholly  in  wood — and  the  high-class  productions 
of  Manchester  and  London,  there  is  an  immense 
difference  :  and  between  the  simple  chunk  of 
deal,  and  the  block  of  black  wood,  or  ivory, 
or  the  casting  of  gun  metal,  there  is  scarcely 
less  difference ;  so  that  the  art  of  turning,  using 
the  term  in  its  most  comprehensive  sense,  is  one 
that  is  excellently  and  peculiarly  adapted  to  the 
tastes,  the  pockets,  and  the  skill  of  mechanicians 
of  all  classes,  whether  professional  or  amateur. 

In  this  series  of  articles  I  propose  to  take 
one  branch  only  of  the  extensive  art — that  of 
metal  turning.  Yet  even  this  involves  so  many 
special  divisions,  and  requires  so  many  tools, 
appliances,  and  methods  of  operation,  that  it 
will  be  necessary  to  treat  it  generally  in  a 
somewhat  elementary  fashion. 

There  are  great  differences  between  the  work 
of  the  light  hand  lathe  and  that  of  the  massive 
power  lathes  of  our  workshops  ;  and  there  is  a 
good  deal  of  special  work  commonly  done  in 
amateur  lathes  which  is  seldom  done  in  work- 
shops where  special  machines  are  employed.  I 
shall,  therefore,  in  these  articles  endeavour  to 
write  more  in  the  interests  of  amateurs  than  of 
workmen  who  have  ample  appliances  at  com- 
mand— more  for  those  who  use  a  small  foot- 
latlw  in  kitchen  or  lumber  room,  than  for  those 
whose  work  lies  in  the  mammoth  workshop. 

The  selection  of  a  lathe  suitable  for  metal 
turning  must  depend  on  means,  and  driving 
power  available.  Certainly  it  is  always  prefer- 
able to  drive  a  metal  turning  lathe  by  power  ; 
and  for  an  amateur,  nothing  is  so  convenient  as 
a  small  gas-engine.  But  this  and  the  shafting 
is  expensive,  aud  most  people  therefore  have  to 
use  the  foot-lathe.  Then,  it  is  never  advisable 
to  get  a  foot-lathe  larger  than  5-inch  centres, 
and  for  most  of  the  purposes  required  by  the 
average  amateur,  one  of  4-inch  centres  is  more 
handy.  Lathes  smaller  than  4-inch  are  not  to 
be  recommended,  because  of  their  lightness  and 
want  of  range.  Between  4,  4£,  and  5-ineh 
centres,  then,  I  think  the  choice  should  be. 
A   lathe   for  metal-turning   should  be  back- 


geared.     Much  metal  work  is  done  in  ungeared 
lathes,   and  the   practice   of   unassisted    hand- 
turning   is   properly   to   be    recommended    for 
several  reasons :  as,  for  instance,   in  order  to 
acquire  skill  in    the  manipulation   of  tools,    a 
correct  knowledge  of   the  influence  of   minute 
shades  of  difference  in  the  methods  of  grinding 
and  the  methods  of  presentation  of  tools,  and 
generally  of  their  modes  of  operation.    In  hand- 
turning  there  is  greater  sensitiveness  of  touch 
than  in  slide-rest  turning,  and  useful  knowledge 
is  thereby  instinctively  gathered  which  is  not  so 
readily  acquired  in  the  automatic  methods  of 
turning.    But  there  is  a  good  deal  of  metal-turu- 
ing  that  cannot  possibly  be  done  in  any  reason- 
able space  of  time  in  an  ungeared  lathe.     Heavy 
work,   work  of   large   diameter,  and  work  re- 
quiring, for  economy's  sake,  the  taking  off  of 
deep  roughing  cuts,  cannot  be  done  by  hand- 
turning.     The  slow  speed  required  for  these  is 
difficult  to  maintain  in    a    foot-lathe    without 
slipping  of  the  strap  or  cord  occurring ;  or  the 
lathe  will  go  off  too  fast,  and  the  work  will  then 
grind  the  tool  away  ;  or  else  the  tool  will  hitch, 
and  pull  up  the  lathe.     Only  small  diameters 
and  light  cuts  can  be  attempted  in  such  a  lathe. 
In  a  back-geared  lathe,  on  the  contrary,  work  as 
large  as  the  swing  of  the  lathe,  even  including 
that  afforded  by  the  greater  range  of  a  bed,  can 
be  done  with  little  difficulty;  manifestly  a  very 
important  advantage,  as  in  the  turning  of  fly- 
wheels,  pulleys,    flanges,    the   boring   of  large 
cylinders,  and  the  taking  of  heavy  roughing  cuts. 
Most  amateur  turners  want  at  some  time  or 
another  to  cut  screw-threads,  and  therefore  a 
lathe  of  screw-cutting  type  is  much  to  be  pre- 
ferred to  one  fitted  with  a  slide-rest  operated 
simply  by  hand,  or  by  rack  and  pinion.     It  is 
impossible  to  cut  a  long  screw  by  any  other 
means  than  that  afforded  by  a  slide-rest  operated 
by    leading    screw.       What    is    termed    screw 
chasing,    meaning    by    that    the    starting  and 
cutting  of  threads  with  chasing  or  comb  tools, 
is  only  applicable  to  threads  of  an  inch  or  two 
in  length,   and  a    traversing   mandrel    is  only 
suitable  for  cutting  short  threads.     A  leading 
screw  and  change-wheels,  therefore,  costing  in 
a  small  lathe  £3  or  £4  extra,  should  be  chosen 
by  amateur  turners. 


'256     BOW  TO  DRIVE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER. 


It  is  not  necessary  in  small  lathes  to  make 
the  slide-rest  self-acting  in  longitudinal  and 
€ross-traverse  by  back  shaft.  This  arrange- 
ment adds  considerably  to  the  cost  of  a  lathe, 
and  is  one  which  is  practically  useless  for 
amateurs.  The  cross-traverse  can  always  be 
worked  by  hand  easily,  and  the  longitudinal 
either  by  rack  or  leading  screw. 

I  should  not  select  what  is  termed  an  orna- 
mental lathe  for  general  work.  Except  for  its 
own  special  functions,  an  ornamental  turning- 
lathe  is  a  nuisance ;  and  it  is  not  difficult  to 
attach  an  overhead,  and  a  drilling  spindle,  and 
a  division-plate  to  an  ordinary  screw-cutting 
lathe,  and  so  increase  its  range  of  usefulness. 
A  division -plate  is  a  very  useful  addition, 
rendering  the  lathe  serviceable  for  a  very  ex- 
tensive range  of  operations  in  dividing  out,  and 
in  gear-cutting,  milling,  etc. 

As  a  consoler  for  those  who  cannot  well  afford 
the  expense  of  a  back-geared  screw-cutting 
lathe,  let  me  say  that  a  good  deal  of  light  use- 
ful model  work  can  be  done  in  a  wood-turning 
lathe  with  a  bed  of  iron  or  of  wood,  using  a 
common  T  rest.  To  such  a  lathe-bed  a  plain 
slide-rest  can  be  bolted  down  in  the  same 
fashion  as  the  poppet  or  T  rest  is  bolted,  with 
hexagonal  nut,  or  wing  nut  underneath ;  and 
when  turning  work  having  a  greater  length 
than  the  range  of  the  slide,  it  will  have  to  be 
undamped,  moved  along,  and  reset  in  the  new 
position  required.  Plenty  of  useful  amateur 
metal-turning  of  alight  character  is  done  thus. 

In  the  next  article  I  shall  speak  of  the 
different  kinds  of  metal  commonly  turned,  and 
of  the  manner  in  which  tools,  speeds,  methods, 
etc.,  for  turning  are  vitally  affected  by  their 
characteristic  differences. 


' '  I  always  keep  ready  for  use  a  6-ounce  bottle 
of  potassa-alum  water,  made  by  adding  two  or 
three  teaspoonfuls  of  the  potassa-alum  to  the 
bottle  of  fresh  water.  Use  equal  quantities  of 
this  and  fresh  water  for  mixing  your  plaster.  It 
hardens  the  plaster,  and  keeps  it  from  shrinking  ; 
and  after  vulcanizing,  your  plaster  will  not 
stick  to  the  rubber." — Dr.  Penny,  in  "  Archives." 


HOW  TO  DRIVE  A  LATHE  AND 
CIRCULAR  SAW  BY  WIND 
POWER. 

By   REV.   A.   TEOROLD. 


I. — Introduction. 
HERE  can  be  no  reason  why  the  general 
principle  running  through  the  various 
wind  models  already  described  at 
some  length  in  the  pages  of  this  magazine  should 
not  be  applied  for  the  benefit  of  those  who  have 
larger  schemes  and  more  important  objects 
before  them  than  mere  prettiness  in  automatic 
Lilliputian  toys. 

Some  of  my  readers  have  kindly  expressed 
themselves  gratified  with  the  suggestions  already 
put  forth  respecting  these  models,  and  appar- 
ently have  looked  beyond  the  details  laid  before 
them  to  possibilities  not  entered  upon,  although 
foreshadowed. 

One  reader  wrote  to  inquire  about  a  more 
elaborate  scheme  for  raising  water  ;  another  has 
even  greater  hopes,  and  would  like  to  drive  his 
turning  lathe  and  saw  his  timber. 

When  I  was  asked  to  describe  the  working  of  a 
few  small  out-  door  models  to  be  driven  by  wind 
power,  I  did  not  anticipate  being  called  upon  to 
enlarge  my  papers  almost  to  the  boundaries  of 
the  description  of  heavy  machinery ;  but  as  I 
have  just  said,  and,  indeed,  as  I  hinted  some 
time  ago,  there  is  no  reason  why  these  models 
should  not  be  enlarged,  or  why  the  principle 
running  through  them  should  not  be  carried  on 
till  our  cisterns  in  the  roof  are  filled  with  water 
raised  by  the  wind,  or  our  lathes  driven,  or  our 
wood  cut,  or  our  hay  chaffed,  or  our  roots 
pulped,  and  a  dozen  things  beside  done  by  the 
one  and  the  same  inexpensive  power. 

Just  as  a  bicycle  is  cheaper  by  its  food  than  a 
horse,  so  is  a  windmill  cheaper  than  an  engine  by 
its  fuel ;  and  even  if  we  cannot  always  count 
upon  the  wind  being  at  command  whenever  we 
desire  it,  there  is  on  the  average  of  days  air 
enough  stirring  to  do  what  we  want. 

On  these  grounds,  I  am  again  pen  in  hand, 
with  a  letter  from  the  Editor  in  front  of  me,  to 
do  what  I  can  in  obedience  to  his  wishes  to  help 
a  far-off  dweller  in  the  Orkneys  (who,  with  the 


HOW  TO  DRIVE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER.     257 


natural  acumen  of  his  northern  brothers,  knows 
that  Amateur  Work  is  a  good  thing)  to  drive 
his  turning  lathe  and  saw  his  wood. 

I  may  commence  by  observing,  as  I  did  in  my 
last  paper,  that  my  correspondent  has  failed  to 
furnish  me  with  any  description  of  his  surround- 
ings. He  has  told  me  what  he  wants,  but,  with 
a  vast  amount  of  faith  in  my  powers  of  second 
sight,  has  left  me  in  the  dark  respecting  what 
he  actually  possesses.  My  guesses,  therefore, 
may  be  utterly  wrong.  I  suppose  he  has  a 
turning  lathe,  or  he  would  not  wish  to  know  how 
to  make  the  wind  drive  it.  I  also  suppose  he 
has  a  circular  saw  bench,  for  the  same  reason. 
Yet  there  are  one  or  two  things  I  should  like  to 
have  known ;  for  instance,  is  the  workshop  a 
single  storied  building,  or  is  there  another  room 
over  it  ?  Has  he  much  floor  room  ?  Can  the 
lathe  and  saw  bench  stand  close  together  ?  Is 
the  shop  sheltered  ?  Is  it  in  a  hole  or  upon  a 
hill  ? — all  of  which  points  are  of  some  import- 
ance. A  jump  in  the  dark  often  leads  to  a 
mistake,  yet  jump  I  must  at  several  conclusions 
when  asked  to  advise  on  the  construction  of  a 
particular  machine  for  a  special  work,  to  stand 
in  a  place  the  characteristics  of  which  I  am  left 
in  ignorance.  It  would  always  be  a  great 
assistance  if  correspondents  would  kindly  state 
as  many  details  as  possible,  and  leave  as  little  as 
possible  to  be  guessed  at  when  asking  for  advice 
and  papers  upon  subjects  specially  to  be  of  use 
to  themselves.  I  am  glad  to  be  able  to  enlarge 
the  scope  of  former  papers  on  the  inquiry  of 
readers  of  Amateur  Work  ;  but  it  will,  I  hope, 
be  plain  from  the  foregoing  remarks  that  these 
supplementary  papers  must  more  or  less  deal 
with  generalities  in  the  subject  when  the  inquirer 
does  not  give  a  helping  hand  of  detail  as  to  the 
speciality  he  requires.  I  must  therefore  take  my 
plunge,  and  trust  that  my  friend  in  the  Orkneys 
will  be  able  at  least  to  adopt  the  suggestions 
offered  to  him,  even  if  he  cannot  make  the  fullest 
use  of  them. 

There  is  but  one  practical  method  of  driving  a 
lathe  and  a  circular  saw  in  the  same  shop.  The 
two  must  stand  as  near  as  can  be  side  by  side, 
and  worked  by  straps  from  an  overhead  axle. 
This  axle,  in  its  turn,  must  be  connected  by 
another  strap  with  the  wind  gear,  connections 


and  disconnections  being  arranged  by  a  simple 
method  hereafter  to  be  described. 

Everything  must  be  of  the  strongest  character, 
as  the  rattle  and  jar  is  considerable.  Good  work 
at  the  outset  will  repay  itself  many  times  over, 
while  indifferent  fittings  will  be  a  fruitful  source 
of  inconvenience,  vexation,  and  expense.  I 
presume  that  our  friend  is  ready  to  incur  a 
certain  amount  of  expense  in  fitting  up  wind 
gear  for  actual  motive  power.  He  may  and 
probably  will  be  willing  to  do  a  good  deal  of  the 
fitting  up  in  his  own  shop,  and  with  his  own 
hands ;  but  still  the  cost  must  be  somewhat 
considerable  for  materials  and  such  ironwork  as 
must  be  purchased,  probably  only  from  a  dis- 
tance. I  cannot  enter  very  easily  upon  figures, 
but  doubtless  an  estimate  can  be  procured  of  the 
parts  needed,  without  much  trouble,  before  he 
commences  operations.  One  of  the  first  diffi- 
culties with  which  we  shall  be  confronted  is  the 
position  of  our  windmill.  It  is  imperative  that 
it  shall  command  the  wind  from  whatever  quarter 
it  may  be  blowing  ;  otherwise  we  might  possibly 
be  unable  to  work  our  lathe  or  saw  at  some 
specially  critical  time. 

The  sails  must  be  well  out  of  the  shelter  of 
any  building,  and  hence  must  stand  somewhat 
high.  To  build  an  actual  mill,  or  anything 
approaching  such  a  structure,  is  altogether  out 
of  the  question. 

H  possible,  therefore,  it  will  be  most  con- 
venient to  erect  as  simple  a  framework  as  is 
compatible  for  the  work  required  upon  the  roof 
of  the  shop,  as  by  this  arrangement  the  sails  will 
gain  all  the  exposure  that  is  possible,  and,  more- 
over, the  wind  gear  for  connection  with  the 
workshop  will  be  well  situated.  If  we  are  in 
possession  of  a  single  storied  building,  our 
difficulties  in  fixing  the  overhead  structure  or 
mill  need  not  be  great. 

Our  first  step  will  be  the  removal  of  slates  or 
tiles  immediately  overhead.  Having  laid  bare 
a  space  of  about  6  feet  wide,  we  fix  four  strong 
uprights  to  the  rafters  in  such  relative  positions 
that  as  nearly  as  possible  they  may  enclose  a 
square  of  not  less  than  4  feet  6  inches  each  way. 
These  uprights  should  be  4  inches  square,  and 
be  bolted  firmly  both  to  the  beams  running 
across  the  roof  as  well  as  to  the  rafters.  Of 
VOL.  III.  (n.s.1) — x 


258 


NOTES  ON  NOVELTIES. 


course,  it  is  absolutely  necessary  that  the  roof 
timbers  should  themselves  be  good  and  solid, 
since  the  strain  upon  them  exerted  by  the  mill 
sails  will  be  considerable.  If  we  are  in  any 
doubt  upon  the  question  of  their  strength,  we 
must  set  to  work  to  strengthen  them,  as  a  pre- 
liminary to  any  other  proceedings,  lest  on  some 
windy  day  the  tiles,  and  finally  the  roof  itself, 
should  be  brought  to  the  ground.  In  length, 
these  uprights  of  which  we  were  speaking  should 
not  be  less  than  10  feet. 


NOTES  ON   NOVELTIES. 

By  TEE  EDITOR. 


EED  LIST.— Messrs.  Dobbie  and  Co.,  Seed 
Growers  and  Florists,  Rothesay,  Scotland, 
send  me  the  twenty-fourth  annual  edition 
of  their  excellent  Seed  List.  It  contains  a 
of    useful    information,   and   is  distinctly 


large   amount 

suitable  for  the  requirements  of  amateur  gardeners. 

The  Amateur. — (Zille3  and  Company,  24  and  26,  Wilson 
Street,  Finsbury,  London,  E.C.).  The  March  part  of  this 
excellent  magazine  contains  a  large  size  fretwork  pattern 
for  bracket  with  towel-roller,  iu  which  ornament  and 
utility  are  happily  combined.  The  same  part  also 
contains  a  full-sized  pattern  sheet  for  a  table  top  to  be 
inlaid  with  three  different  woods.  The  pattern  is  artistic, 
and  not  too  difficult  of  execution. 

Electrical  Catalogue.  —  Messrs.  Cox  and  Co.,  Manu- 
facturing Opticians  and  Electricians,  11,  Fetter  Lane, 
Fleet  Street,  London,  E.C.,  send  me  a  very  useful  catalogue, 
giving  prices  of  all  kinds  of  electrical  apparatus,  which 
amateur  electricians  will  find  very  handy  when  requiring 
parts  of  telephones,  electric  bells,  batteries,  etc. 


AMATEUR    WORK 

PRIZE    SCHEME. 

XI.  —  The  following  pri/.es  are  offered  for 

THE  MOST  ARTISTIC  PICTURE  FRAME 
FOR    PHOTOGRAPHS  OR  ENGRAVINGS. 
£   s.    ri. 

1st  Prize  1    1(1     0 

2nd     , 1     0    0 

3rd     ,,  0   10     0 

The  size  of  the  frame  sent  in  must  not  exceed  25  inches  by 
20  inches.  The  material  to  be  used  is  left  entirely 
to  the  judgment  of  the  competitor.  The  following 
points  will  be  noted  in  awarding  prizes,  viz. :  the 
novel  and  artistic  use  of  simple  materials ;  neatness 
and  finish  of  work  ;  the  suitability  of  the  frame  for 
its  proposed  use ;  general  artistic  effect. 


RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  April  29th,  carriage  paid,  and  addressed 
— The  Editor  of  Amatedr  Work,  Warwick  House, 
Salisbury  Square,  London,  E.G. 

(3).  Each  article  must  bear  the  name  and  address  of  the. 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
(except  MS. )  must  enclose  an  addressed  label.  If 
the  article  is  to  be  returned  by  parcel  post,  the 
label  must  be  fully  stamped  ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 

(5).  The  decision  of  the  Editor  shall  be  final. 


RESULTS  OF  COMPETITIONS. 

VI.  AND  VII. 

VI. — Vevers'  Half-plate  Rapid  Rectilinear  Lens  with 
detachable  hood  and  a  set  of  Waterhouse  diaphragms 
(the  lens  is  of  the  finest  workmanship  and  finish, 
and  guaranteed  perfect),  for  the  best  description 
of  a  cheap  but  effective  "  Photographic  Studio," 
suitable  for  construction  by  an  Amateur. 

The  prize  in  this  instance  has  been  awarded  to  Mr. 
George  Pirie,  16,  Academy  Street,  Elgin,  Scotland, 
for  a  very  carefully  and  well-written  paper.  His 
description,  illustrated  by  figured  drawings,  is  so 
complete  in  every  detail  that  an  amateur  building 
from  his  instructions  could  hardly  make  a  mistake. 
An  extremely  useful  feature  in  Mr.  Pirie's  paper  is 
a  list  of  the  wood  required,  giving  the  number  of 
pieces,  the  length,  width,  and  thickness  of  each,  a 
reference  to  the  drawing  in  which  each  is  shown, 
the  use  to  which  each  is  applied,  and  the  price.  I 
shall,  space  permitting,  publish  this  paper  in  the 
May  Part  of  Amateur  Work.  Before  this  is  in 
print,  Mr.  Pirie  will  have  received  his  lens  from 
Mr.  0.  C.  Vevers,  of  Leeds,  and  I  have  no  doubt 
that  he  will  find  it  entirely  satisfactory. 

The  second  best  paper,  sent  for  competition,  is  by  Mr.  W- 
H.  Bradburne,  Church  Stretton,  Salop,  who  was  the 
fortunate  winner  of  the  first  Prize  Competition. 
As  no  entries  have  been  made  in  Competition  VII., 
which  was  for  the  best  set  of  three  platinotype 
prints,  I  have  decided  to  make  this  a  second  prize 
in  Competition  VI.,  and  have  therefore  much 
pleasure  in  instructing  Mr.  Vevers  to  forward  to 
Mr.  Bradburne  one  of  his  9-inch  burnishers  with 
Bunsen  burner  complete. 

A  paper  to  be  highly  commended  was  sent  in  by  Mr.  N. 
L.  Chalmers  ;  but  in  this  case  the  details  were  not 
so  fully  worked  out  as  in  the  papers  above  referred 
to.  One  competitor  somewhat  misses  the  subject 
of  the  competition  ;  he  sends  in  an  excellent  paper 
on  the  construction  of  a  portable  developing 
cabinet,  and  entitles  his  article  "  An  Amateur 
Photographic  Studio." 


AMATEURS  IN  COUNCIL. 


259 


AMATEURS  IN  COUNCIL. 


OPES-  TO   ALL  HEADERS. 

Tiree-Fold  Screen 
Charlie.— Height  6   feet,  width  of 
each   frame   2   feet   6   inches,  will   be 
convenient  sizes  for  a  three-fold  screen. 


A  Few  Ideas  in  Woodwork. 

In  consequence  of  an  unfortunate 
miscarriage,  the  illustrations  for  this 
article,  which  will  be  found  on  page 
157,  had  to  be  omitted.  I  now  give 
them  on  this  page,  and  a  reference  to 
the  article  in  the  last  Part  will  make 
all  clear. 


Etching  on  Copper. 

E.  N.  T.  Griffith.— The  information 
you  ask  for,  if  given  fully,  would 
occupy  many  pages  of  Amateur  Work  : 
however,  I  will  describe  in  brief  the 
mechanical  part  of  the  work.  The 
artistic  portion  rests  entirely  in  your 
own  hands;  but  I  may  mention  that, 
before  attempting  this  branch  of  the 
arts  you  must  be  thoroughly  acquainted 
with  drawing.  The  materials  required 
are  copper  plates,  asphaltum,  Burgundy 
pitch,  beeswax,  etching  needles,  border- 
ing wax,  stopping-out  varnish,  tracing 
paper,  and  aquafortis.  You  will 
purchase     the    copper     plates' 


Thickness  of  frames  f  or  1 
inch,    and    width    of     rails 
composing  them  2  inches  or 
more  each.    You  can  purchase 
hinges,   or   use   the   ordinary 
towel-horse  connections.    You 
ought    to   be   able    to  easily 
total   up    what   lengths  you    will   re- 
quire.     Any   timber-yard   will   supply 
material,  which  may  be  of  any  of  the 
ordinary  furniture  woods.      I   should 
advise  you  to  carry  the  material  (canvas 
or  American  cloth)  over  the  junctions, 
allowing  sufficient  between  the  frames 
to  permit  of  their  folding  flat.     Perhaps 
a  paper  or   two  dealing   with   screens 
will  appear  when  space  can  be  afforded 
for  such. — J.  S. 

Re  American  Clock  Query. 
I  am  sorry  I  omitted  to  give  such 
necessary  particulars.  I  must  have 
written  in  a  hnrry.  It  is  a  35-hour 
lever  timepiece  worked  by  spring,  and 
it  is  an  old  clock.  —P.  Bessett. 


Colonists  and  Amateur  Work, 
H.  A.  Husband,  M.D.  (Manitoba). — 
I  have  read  your  letter  with  much 
interest.  I  can  assure  you  that  my 
colonial  readers  will  always  receive  a 
full  share  of  attention,  because  they 
are  the  men  who,  more  than  others, 
have  to  learn  to  help  themselves. 
Your  suggestions  shall  be  attended  to, 
and  I  can  promise  you  papers  on 
several  of  the  subjects  referred  to. 
You  will  find  that  "  Brass  Casting," 
and  "How  to  Make  a  Furnace  for 
Melting  Small  Quantities  of  Brass  for 
Casting  Chucks,  etc.,"  has  been  fully  and 
clearly  dealt  with  in  Volume  I.  (New 
Series),  page  242. 


prepared  and  polished.  The  plate  is 
first  covered  with  a  ground  composed 
of  equal  parts  of  asphaltum,  Burgundy 
pitch,  and  beeswax,  melted  together  in 
an  earthen  pipkin,  and  kept  stirred 
until    thoroughly    mixed.      Pour    the 


260 


AMATEURS  IN  COUNCIL. 


mixture  into  a  basin  of  cold  water,  and 
when  nearly  cold  press  and  roll  the 
mass  until  the  water  is  all  squeezed 
out.  Make  it  into  a  ball,  and  tie  it  up 
tightly  in  a  piece  of  old  silk.  Now 
heat  the  plate  carefully  over  a  clear 
fire  or  spirit-lamp.  The  plate  must 
not  be  overheated,  which  will  be  known 
by  its  becoming  discoloured.  When 
sufficiently  heated,  pass  the  ball  of 
ground  over  it  backwards  and  forwards 
with  a  quick  action  ;  if  the  ground 
does  not  spread  easily,  warm  the  plate 
again,  and  proceed  as  before,  until  the 
surface  is  covered  evenly  and  thinly. 
The  plate  has  now  to  be  smoked ;  this 
may  be  done  by  holding  it,  face 
downward,  over  a  wax  taper  or  oil- 
lamp.  When  the  surface  is  evenly 
blackened  it  is  ready  for  use.  Now 
prepare  a  tracing  of  the  subject  to  be 
etched.  Cut  the  tracing  paper  to  the 
Bize  of  the  plate ;  place  a  piece  of 
transferring  paper  on  the  ground,  and 
on  the  top  of  that  place  the  trac- 
ing, face  downwards.  Fix  it  with 
pieces  of  soft  wax  round  the  edges  of 
the  plate.  The  transferring  paper 
may  be  made  as  follows : — Take  half  a 
sheet  of  fine  bank-post  paper,  and  with 
a  small  piece  of  sponge  rub  it  well  with 
powdered  red  chalk  ;  then  with  a  piece 
of  soft  muslin  rub  the  greater  part  of 
the  colour  from  the  surface.  With  a 
sharp  pointed  H.  H.  pencil,  go  over  all 
the  lines  of  the  tracing  with  a  strong 
pressure,  and  holding  the  pencil 
rather  upright.  When  the  transfer 
appears  complete,  carefully  lift  up  the 
tracing  paper,  allowing  the  top  edge  to 
remain  fixed.  Examine  your  work,  and 
If  any  of  the  lines  have  been  overlooked 
the  paper  can  be  fixed  down  again,  and 
the  omisBion  rectified.  The  plate  is 
now  ready  for  etching.  With  a  fine- 
pointed  needle  (No.  1)  go  carefully 
over  the  outline,  using  just  sufficient 
pressure  to  remove  the  ground.  With 
the  same  needle  go  over  all  the  lighter 
parts  with  sufficient  pressure  to  make  a 
slight  indentation  on  the  plate.  A 
No.  2  needle  may  be  used  for  the 
lighter  shade,  and  the  same  point  will 
answer  for  the  darker  shades  by 
making  the  lines  closer  together  and 
increasing  the  pressure.  Every  line 
must  be  kept  distinct,  and  the  most 
distant  should  be  closer  and  more 
regular  than  those  in  the  foreground. 
The  greater  the  depth  of  shade   the 


broader  and  deeper  must  the  lines  be 
made.  When  the  etching  of  the  plate 
is  complete,  the  edges  must  be  sur- 
rounded by  a  border  of  wax  made  as 
follows: — Place  in  an  earthen  pipkin 
about  i  ounce  of  sweet  oil,  add  3  ounces 
of  resin  and  2  ounces  of  beeswax. 
Melt  and  work  the  ingredients  well 
together  with  a  stick  until  thoroughly 
incorporated ;  then  pour  into  a  basin 
of  cold  water  ;  as  it  gets  cold,  work  it 
well  with  the  hands ;  the  more  it  is 
worked  the  better  it  will  be  to  use.  If 
it  turns  out  brittle,  break  it  up  again 
into  the  pipkin,  and  add  more  oil ;  then 
proceed  as  before.  Having  bordered 
the  plate,  the  strongest  aquafortis 
must  be  diluted  with  water  and  poured 
upon  the  plate ;  this  attacks  those 
portions  of  the  plate  laid  bare  by  the 
etching  needle.  The  bubbles  of  fixed 
air  are  carefully  brushed  away  with  a 
feather.  When  you  think  the  acid  has 
acted  long  enough,  pour  it  off  and 
examine  the  plate.  If  the  light 
shades  are  found  to  be  sufficiently  bit 
in,  they  are  covered,  or  stopped  out 
with  turpentine  varnish.  The  biting 
is  then  continued  for  the  second  shades, 
which  are  next  stopped  out,  and  so  on. 
After  the  process  is  completed,  the 
plate  is  cleaned  with  oil  of  turpentine, 
and  any  defects  in  the  lines  remedied 
with  the  graver.  There  are  many  little 
details  omitted  in  this  description,  but 
experience  and  examination  of  good 
etchings  will  be  your  best  teachers. 

Model  Steam  Yacht. 
Sidney  Burton  (Dulwich). — If  you 
refer  to  the  article  on  "  Model  Cutter," 
in  the  present  No.  of  Amateur  Work, 
you  may,  by  making  a  little  alteration 
in  the  sections,  make  your  own  plan. 
If  you  cannot  manage  this,  and  you 
write  me,  through  the  Editor,  I  will  try 
to  help  you. — Electron. 

Single  Needle  Telegraph. 
A.  B.  Clark  (Chingford). — It  will 
be  cheaper  to  make  your  own  battery ; 
but  if  you  have  decided  to  buy,  Gent 
and  Co.,  Faraday  Works,  Leicester, 
will  supply  you.  The  cost  of  a  three- 
pint  Daniel  cell  is  3s.  The  price  of 
line  wires  will  depend  upon  the  gauge 
and  the  kind  of  insulation  you  require. 
Price  ranges  from  4s.  to  18s.  3d.  per 
100  yards ;  Gent  and  Co.'s  Catalogue, 
which  they  supply  post  free,  will  give 
you  all  information. 


Hygroscopic  Chemical. 
"  Spectroscope  "writes : — "  There  is  a 
certain  chemical  that  is  sensitive  to 
atmospheric  changes,  becoming  blue 
when  it  is  going  to  rain,  etc.  Can  you 
tell  me  what  it  is?"  The  chemical  you 
refer  to  is  chloride  of  cobalt.  A 
chemical  thermoscope  can  be  made  by 
sealing  in  a  glass  tube  a  solution  of 
chloride  of  cobalt  in  dilute  alcohol. 
Subjected  to  a  temperature  of  40  to 
00  degrees  Fah.,  the  solution  becomes 
pink,  and  as  its  temperature  is  raised 
to  100  or  90  degrees,  it  passes  through 
various  shades  of  purple,  and  finally 
becomes  blue.  The  same  salt  applied 
to  an  artificial  flower  —a  rose,  for 
example — renders  it  visibly  hygroscopic. 
When  the  air  is  damp  the  rose  is  pink, 
and  when  the  air  is  warm  and  dry  the 
rose  will  be  purple  or  blue.  A  solution 
of  the  same  salt  may  be  used  as  a 
sympathetic  ink. 

Leaded  Glass  Windows  and  Aviaries. 
N.  N.  (Kilburn). — A  series  of  papers 
dealing  fully  with  the  subject  of 
"  Glass  Painting  and  Decorative 
Glazing,"  appeared  in  Vol.  V.  (Old 
Series),  and  a  paper  entitled  "  A 
Parlour  Aviary,"  on  page  553,  Vol. 
VII.,  of  the  same  Series. 

Soldering  Galvanized  Work. 
"Four  Years'  Subscriber." — There 
should  be  no  difficulty  in  soldering 
galvanised  iron,  providing  it  is  clean 
(I  gather  from  your  query  that  it  is 
new  work  you  wish  to  solder),  if  you 
use  strong  spirits  of  salts  and  a  hot 
iron.  Use  a  rather  fine  solder,  say 
4  pounds  tin  to  2  pounds  lead,  as  it 
gets  grossed  by  contact  with  the  zinc 
on  the  work.  1  am  preparing  an 
article,  which  I  hope  soon  to  submit  to 
the  Editor,  dealing  clearly  with  the 
subject. — L.  L. 

Replies  Devoid  of  General  Interest. 
"Amber." — You  omitted  to  enclose 
the  stamped  and  addressed  envelope 
referred  to  in  your  letter.  You  may 
send  the  article  you  refer  to  on  ap- 
proval. 


LETTERS  RECEIVED   UP   TO  MAR.  13. 

R.  E.  White  ;  D.  G.  Tatloe; 
O.  Meltzer;  Alchemist;  C.  E.  1/. ; 
Ian.  Otto  Orno. 


h'KtLSJLJN  1  CU       Wlin        •  aiviHTe-uix 


x  *jjj  w  **- -*.— 


bsss 


ta.)*BM 


or  FArfeLS. 


v^r  T^srWo^  en  JnlxV. 


iH>btTt  CoKpn.  i»»»>. 


WAHIi.    LOOK    AMt    CO.,    ln„J.,„.    JTe»    J".  >•*,-,    ami    lf«NM»irne. 


A  GOOD  SETT  BOARD  FOR  ENTOMOLOGISTS. 


261 


HOW    TO   MAKE    AND    USE    A 

GOOD  SETT  BOARD  FOR 

ENTOMOLOGISTS. 

By  ANGLER. 


@2§§<0  an  entomologist  the  possession  of  a 

f  EPs  fa     &00&  S0tt  hoard  means  a  great  deal. 

FfevS£^j*3     His   insects   when    finished    have   a 

much  neater  look,  and 

■will      generally     last 

longer  than  those  sett 

on  a  badly  made  sett 

board.       The       old  - 

fashioned  sett  boards 

—and  indeed  they  are 

used  most  extensively 

even    now — not    only 

make   an   insect  look 

very  ugly,  but  afford, 

through     the     wings 

touching  the  cork  of 

the  cabinet,    an   easy 

means   of    access    for 

the    parasites    which 

generally  inhabit  the 

bodies  of  insects. 

The  French  fashion 
of  setting  is   to  have 
the      wings     turning 
a    little     upward, 
which,    of   course, 
looks     far    better 
than  the  low  sett 
and     drooping 
wings  of  an  Eng- 
lish sett  insect. 

I  think  an  insect  looks  best  when  sett  quite 
fiat  and  on  a  high  pin,  and  with  the  pin,  of 
course,  at  an  angle  of  about  70  degrees  with 
the  body. 

The  best  material  of  which  to  make  a  sett 
board  is  wood,  and  the  best  wood  for  the 
purpose  is  American  white  wood  ;  it  is  very  soft, 
and  gives  easily  for  the  pin.  If  this  wood 
cannot  be  obtained,  then  red  deal  does  very 
well.  Cork  is  not  a  good  material  to  make  a 
sett  board,  as  not  only  is  it  much  dearer  than 
wood,  but  also  is  very  difficult   to  work.    Even 

Vol.  III.  (New  Series).— Part  30. 


FIC  4-. 


Fl  C.  \. Section. 


the  best  cork  is  not  free  from  holes ;  and  if, 
when  setting  the  insect,  the  pin  should  come  to 
one  of  those,  then  the  pin  slips,  carrying  with  it 
the  setting  paper,  and  quite  spoils  the  insect 
for  a  collection.  Anyone  who,  in  setting  an 
insect,  has  met  with  this  accident,  will  well  know 
what  I  mean. 

First,    then,    procure  some    American  white 
wood,  or  some  red  deal,  1  inch  thick,  and  mark 

out  a  piece  24  inches 
by  If  inches  ;  this  will 
make  a  sett  board  12 
inches  by  3  inches. 
When  cut  out,  plane 
down  to  24  inches  by 
\\  inches,  and  divide 
it  into^two  pieces,  12 
inches  by  \\  inches. 
Next  lay  one  of  these 
pieces  on  to  some  \ 
inch  wood,  and  mark 
out  two  parallel  lines 
|  inch  apart,  and  glue 
each  of  the  pieces 
of  wood  along  the 
parallel  lines  (see  Fig. 
1 ) ;  a  '  a"  are  the  pie<  es 
of  wood,  12  inches  by 
If  inches.  Next,  when 
the  glue  has  set,  plane 
down  pieces  a'  a" 
to  f  inch.  If  you 
prefer  to  have 
your  insect  on 
shorter  pins, 
then  plane  down 
to£inch,orwhen 
getting  your  wood,  procure  £  inch.  When  planed 
down,  cut  some  12-inch  lengths  of  \  inch  cork, 
to  fit  space  £  (Fig  1.)  There  is  another  method 
of  filling  up  space,  by  putting  small  f  inch 
squares  of  cork  down  the  groove,  at  intervals  of 
an  inch,  in  which  case  there  is  lees  chance  of 
the  board  harbouring  insects. 

Fig.  2  shows  the  board  complete,  the  dotted 
lines  showing  where  to  plane  to  if  the  setter 
prefer  to  have  the  insect  with  wings  bent  a  little 
downwards.  The  following  are  a  few  sizes  of 
sett  boards,  length  12  inches.  The  grooves  may 
vol.  ni.  (n.s.) — y 


?\G.Z  Section, 


262 


A    WASH-HAND  STAND. 


be  altered  according  to  fancy,  but  should  be  all 
the  same  depth  : — 


Width,  not  including  groove. 
1,  1£,  If,  and  2  inches 
2-|,  3,  and  4  inches 
\\,  to  6  inches 


Width  of  groove. 
\  to  r%  inch 
f  inch 
4-  to  4  inch 


Generally  the  width  of  a  groove  for  sett  boards 
for  butterflies  is  J  inch  for  all  sizes. 

In  Fig.  3  will  be  seen  a  diagram  showing 
bow  to  sett  an  insect.  I  daresay  this  method  is 
known,  but  as  quite  a  different  process  is 
generally  described  in  boobs,  and  as  some  may 
not  know  this  method,  I  will  now  try  and  make 
it  clear. 

After  inserting  the  pin  into  the  body  of  an 
insect  at  an  angle,  as  I  said  before,  of  about  70 
degrees,  and  having  inserted  the  pin  into  the 
cork,  also  at  the  same  angle,  then  take  a  thin 
strip  of  paper  long  enough  to  overlap  the  wings 
of  your  insect,  and  after  previously  having  run 
your  thumb-nail  down  the  centre  (this  prevents 
the  edges  of  the  paper  from  rubbing  off  the 
scales  of  the  wings),  pin  it  just  above  the 
antennae,  as  in  Fig.  3  (a).  Now,  holding  the 
end,  b,  in  the  finger  and  thumb  of  the  left  hand, 
insert  the  point  of  the  pin  at  c ;  not  near  the 
margin  of  the  wing,  as  many  do.  By  inserting 
the  pin  at  o,  in  the  fluff,  as  near  the  body  as 
possible,  the  hole  made  by  the  pin  will  not  be 
perceived.  As  soon  as  the  wings  are  in  position, 
pin  down  the  strip  at  b,  with  the  right  hand. 
Next  get  a  piece  of  paper  largo  enough  to  cover 
the  rest  of  the  wing,  and  pin  down  as  in  Fig.  3. 
Sometimes,  by  inserting  a  pin  through  a  piece  of 
paper,  and  fixing  it  under  the  abdomen,  it  affords 
a  great  advantage  in  holding  up  the  body  (see 
Fig.  4). 

This  sett  board  will  be  a  great  acquisition  to 
the  amateur  entomologist,  insomuch  that  it  will 
enable  him  to  mount  the  insect  trophies  captured 
during  his  summer  rambles,  and  display  to  the 
full  extent  the  gorgeous  markings  wherewith 
nature  has  endowed  them.  The  specimens  so 
treated,  and  placed  in  cases  properly  constructed 
for  their  protection,  will  adorn  the  collector's 
apartment,  and  also  give  evidence  that  he  finds 
solace  in  an  innocent  pursuit. 


A    WASH-HAND    STAND. 

BEING  THE  FIFTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD  UTILITY. 

By  ED.  C.  ROE,  Jun.,  Silver  Medallist  of  the  City  and 
Guilds  of  London  Institute. 

T  the  conclusion  of  the  fourth  paper  of 
this  series,  itwas  promised  that  the  sub- 
ject of  the  next  should  be  a  wash-hand 
stand  ;  therefore,  in  redemption  of  that  promise, 
I  venture  to  place  before  the  expectant  amateur 
a  design  which  may  be  condemned  by  many 
as  being  a  little  too  far  advanced  for  them,  on 
account  of  the  apparently  difficult  details.  Let 
me  ask  any  reader  who  is  afraid  to  undertake  it 
on  this  account,  to  accept  my  assurance  that  it 
will  not  be  found  as  imagined,  and  that  the 
ornamental  portion  of  the  work  is  straight- 
forward, and  easy  of  execution. 

The  material  will  naturally  be  thought  of 
first ;  what  kind  of  wood  to  use  being  a  matter 
often  considered  hesitatingly.  Several  popular 
writers  abstain  from  advising  upon  the  choice  of 
material,  giving  by  way  of  reason  that  opinions 
and  tastes  differ  to  such  a  great  extent,  that  to 
attempt  to  direct  the  choice  towards  any  par- 
ticular material  would  be  superfluous,  and  that 
both  time  and  space  would  be  wasted  in  conse- 
quence. With  this  theory  I  do  not  agree,  my 
reason  being  simply  this  :  practical  experience 
has  taught  that  the  facts  are  often  the  reverse 
of  theory,  and  that  the  designer  is,  or  should 
be,  the  only  person  to  express  an  opinion  regard- 
ing the  material  which  would  best  suit  his 
design.  Therefore,  it  is  ventured  to  settle  upon 
a  variety  of  wood  as  the  best  for  the  pur- 
pose, the  sundry  suggestions  I  shall  make  later 
on  being  quite  secondary.  The  choice  has  fallen 
upon  American  walnut,  which,  it  will  be  readily 
granted,  is  very  rich  in  appearance,  and 
eminently  suitable  for  use  in  the  construction  of 
furniture  belonging  to  this  class  of  design.  The 
cost  is  not  great,  it  is  easily  worked ;  and  with 
the  amateur  these  two  points  are  of  too  great 
importance  to  be  lightly  passed  over. 

One  of  the  suggestions  referred  to  above  is 
that  the  whole   should  be  constructed  of  pine, 


A    WASH-HAND   STAND. 


263 


and  then  coated  with  enamel  paint,  the  uses  and 
properties  of  which  have  become  almost  house- 
hold words  ;  another  that  may  with  advantage 
be  adopted  by  those  whose  means  are  somewhat 
limited,  and  yet  would  like  to  have  a  piece  of 
good-looking  work,  is  to  construct  the  framing 
and  shelves  in  pine,  which  should  be  enamelled, 
using  walnut  for  the  doors,  frets,  and  top  back- 
board. If  the  colour  of  the  enamel  used  be  in 
accordance  with  the  walnut,  it  will  be  found  to 
have  a  good  appearance,  and  not  likely  to  offend 
the  taste  of  the  most  critical.  A  suggested  colour 
is  dark  peacock  green. 

The  use  of  marble  for  the  top  raises  the  cost 
considerably,  but  the  advantages  are  very  great 
if  cleanliness  is  required,  wooden  tops  being,  at 
their  best,  but  temporary,  and  altogether  un- 
satisfactory. Therefore  it  is  recommended,  cost 
what  it  may,  to  provide  the  stand  with  a  marble 
top  ;  and  the  convenience  afforded  by  such  will 
be  found  to  amply  repay  the  additional 
expenditure. 

The  general  idea  is  a  skeleton  frame  filled 
in  with  panels,  doors,  and  frets,  to  make  up  the 
resulting  piece  of  furniture ;  the  system  is 
adopted  as  being  very  simple  in  execution,  and 
taking  less  time  to  complete  ;  therefore  we  will 
first  prepare  the  skeleton  frame,  dealing  with 
the  remaining  details  as  they  arise. 

In  accordance  with  my  usual  custom,  a  list  is 
given  below  of  the  stuff  required  to  complete 
the  frame  in  question.  The  dimensions  given 
of  the  width  and  thickness  are  finished  sizes. 


so. 

LENGTH. 

WIDTH. 

THICK. 

NAMK. 

ft. 

in. 

in. 

in. 

4. 

o 

6 

1J 

14 

Legs. 

■2. 

2 

0 

H 

14 

Top  rails. 

2. 

1 

if 

H 

14 

Side  rails. 

1. 

2 

0 

l 

.^ 

Front  middle  rail. 

1. 

2 

0 

J 

i 

Back  middle  rail. 

]. 

2 

0 

l 

i 

Front  bottom  rail. 

1. 

2 

0 

1* 

i 

Back  bottom  rail. 

2. 

1 

5 

1 

i 

Side  middle  rail. 

o. 

1 

a 

1 

* 

Side  bottom  rail. 

Cut  all  this  material  out,  and  piano  up  care- 
fully, square,  and  quite  straight.  How  to  do  this 
has  been  treated  upon  .so  constantly  that  it  does 
not  seem  necessary  here  to  repeat  such  instruc- 
tions. 


The  whole  of  the  framing  should  be  mortised, 
and  tenoned  together  ;  but  in  no  case  should  the 
mortises  be  cut  through,  only  stubbed  in,  ex- 
cepting where  completely  out  of  sight.  About 
f  inch  will  be  a  good  depth  to  cut  the 
mortises,  the  tenons  being  made  to  correspond. 
Careful  attention  should  be  paid  to  the  details 
and  sketches  whilst  setting  out  the  stuff,  the 
various  settings  back  from  the  face  of  the  work 
being  rather  numerous ;  this  does  not  cause  any 
real  difficulty,  but  only  necessitates  careful, 
patient  attention. 

The  outer  dimension  of  the  front  elevation  is 
2  feet  out  to  out  of  legs ;  the  same  of  side  is 
1  foot  5  inches ;  the  height  to  uuder  side  of 
shelf  is  2  feet  5  inches.  Further  dimensions 
may  be  obtained  from  the  elevations,  which  are 
drawn  to  the  scale  of  1  inch  to  a  foot.  The 
small  sinking  in  the  two  front  rails  (section 
a,  b)  will,  of  course,  be  done  before  glueing  up. 
The  bottom  of  the  legs  may  be  treated  as  sug- 
gested, the  sinking  dying  away  5  or  6  inches 
from  the  ground  (section  g,  h). 

After,  or  better  still,  when  glueing  up,  it  wil] 
prove  a  great  advantage  if  a  f  inch  screw,  say 
about  No.  10,  is  driven  in  through  the  mortises 
and  tenons,  wherever  possible  to  do  so,  out  of 
sight.  There  is  probably  little  need  for  a 
reminder  being  given  to  clean  off  the  faces  of 
all  work  below  the  general  surface  previous  to 
knocking  together. 

"We  may  proceed  now  with  the  shelves,  the 
outer  dimensions  of  which  are  2  feet  long  by 
1  foot  5  inches  wide.  The  top  shelf  will  of 
necessity  have  to  be  solid,  or  at  least  veneered, 
being  open  in  front ;  but  there  is  no  reason  why 
the  under  shelf  should  not  be  made  a  point  of 
economy  in  this  way :  a  strip  may  be  tongued 
and  glued  on  to  front  edge  of  a  piece  of  pine ; 
1^  inches  will  be  the  proper  width.  The  ends  of 
the  shelf  may  be  treated  in  the  same  way,  but 
be  sure  the  pine  used  is  dry,  or  things  woeful  to 
relate  will  occur  ;  the  effect  will  be  to  border  the 
pine  on  three  edges  with  walnut.  The  pine  will 
thus  need  to  be  cut  and  prepared,  1  foot 
9|-  inches  long  and  1  foot  3f  inches  wide. 

A  description  of  the  fitting  of  these  shelves 
will  prove  of  little  use ;  therefore,  commending 
patience  to  the  worker,  we  will  pass  on.    When 


264 


A    WASH-HAND  STAND. 


fitted,  an  ovolo  moulding  (see  section  k,  l)  is 
stuck  on  three  upper  edges  of  top  shelf,  and  the 
front  top  and  two  under  edges  of  ends  of  lower 
shelf.  Of  course,  the  back  edges  are  left 
square. 


middle  front  rail  (section  A,  b)  ;  this  if  for  the 
purpose  of  the  door  shutting  against. 

Being  in  the  neighbourhood  of  the  doors,  we 
may  as  well  take  the  size,  and  proceed  to  make 
them,  leaving  to  dry  while  cutting,  and  fixing 


Scale.  7tn-1/i. 


FRONT   ELEVATION. 

The  work  to  follow  on  the  shelves 
should  be  the  filling  in  of  the 
spaces  to  be  fitted  with  panels. 
These  panels,  it  will  be  observed 
on  reference  to  section  k,  l,  are 
fixed  in  a  simple  manner  by  a 
small  fillet  on  the  inside,  and  a 
£  inch  bead  on  the  outer.  The 
fillets  and  beads  are  secured  to  the 
rails  and  legs,  the  fillets  being 
bradded  on  at  the  proper  distance 
from  the  face,  and  the  beads,  in 
the  case  of  hard  wood,  needle- 
pointed  on  after  insertion  of  panel, 
which  is  1  foot  2^  inches  long  by 
1 1  inches  wide,  J  inch  thick.  The 
beads  are  mitred  round,  the  shortest 
being  cut  in  first,  the  longer  ones 
being  sprung  in  afterwards;  this, 
ensures,  if  the  cut  is  accurate, 
properly  fitting  mitres,  which  is  a  very  desirable 
feature. 

A  fillet,  -|  inch  by  £  inch  thick,  should  be 
tacked  or,  better  still,  screwed  on  the  back  of 


BACK   ELEVATION. 


SIDE   ELEVATION. 


frets.  The  outer  dimension  of  the 
doors  must  be  ascertained  directly 
from  the  opening.  Half  the  width 
of  opening  will  give  us  to  the 
centre  line  (section  i,  j),  and  to 
this  width  we  must  add  £  inch  for 
the  extra  width  required  for  re- 
bate. This  will  make  the  meeting 
stiles  2\  inches  (section  I,  j),  the 
outer  stiles  being  the  same  section 
as  the  top  rail,  with  the  exception 
of  the  reeding  (section  a,  b).  The 
moulding  on  doors  may  be  worked 
with  a  router,  or  a  plane  if  ob- 
tainable. (A  router  has  been 
desciibed  in  these  pages.)  The 
mortises  should  be  cut  first,  the 
tenons  next,  then  both  rails  and 
stiles  ploughed  for  the  panels, 
and  afterwards  the  mouldings 
struck,  the  final  operation  previous  to  fitting 
being  to  cut  the  shoulders  of  rails.  No  at- 
tempt will  be  made  to  enter  into  the  method 
of  mortising  and  tenoning  more  fully,  so  many 


A    WASH-HAND   STAND. 


265 


able  writers  having  exhaustively  dealt  with  that 
subject  many  times  in  this  magazine  ;  so  placing 
the  doors  aside,  as  sufficiently  discussed  for  the 
present,  we  will  commence  the  frets. 

The  frets  are  cut  from  \  or  J  inch  stuff  ;  the 
upper  ones  are  fixed  by  a  fillet  at  back,  and  a 
bead  in  front,  in  precisely  the  same  way  as  the 
panels  were  treated ;  the  lower  ones  are  fixed 
by  being  bradded  from  the  under  edge,  out  of 
sight.  The  front  lower  fret  differs  somewhat 
from  the  others,  the  centre  piece  being  made  to 
project  beyond  the  face  of  side  pieces.  If  the 


projecting  butts  are  used,  and  these  are  neither 
necessary  or  desirable  in  this  case.  When  care- 
fully fitted,  and  after  hanging,  the  doors  may  be 
taken  off,  and  the  bead  on  one  meeting  stile 
stuck,  and  the  small  rebate  (section  I  j)  taken 
out  of  opposite  stile,  thus  giving  a  double 
quirked  bead. 

A  small  latch  should  be  fitted ;  a  good  variety 
for  the  purpose  is  a  small  catch  made  by  Kayes, 
on  the  push  principle  ;  the  knob  in  this  form  of 
latch  has  a  small  pin  in  the  centre,  which  upon 
being  pressed  in  a  similar  manner  to  an  electric 


Sfctum,  CD 


centre  piece  is  cut  out  of  a  separate  piece 
of  stuff,  about  \  inch  thicker  than  the  re- 
mainder of  fret,  the  desired  effect  will  be 
obtained,  and  it  will  be  found  the  best  and 
easiest  way. 

The  back  is  £  inch  thick,  and  is  fixed  between 
the  faces  of  the  shelves  (see  section  ms)  ;  on 
the  inside  should  be  fixed  fillets  to  take  the  ends 
of  back,  the  top  and  bottom  edges  being  already 
provided  for.  This  is  taken  as  being  sufficient 
explanation,  without  a  section  being  given; 
screws  should  be  used  for  fixing. 

The  doors  should  now  be  rebated,  fitted,  and 
hung  with  a  couple  of  pairs  of  1J  inch  brass 
pressed  butts ;  they  will  not  open  back  unless 


bell  push,  releases  the  catch,  and  allows  the 
door  to  open.  These  catches  are  very  neat,  and 
are  self-shutting ;  that  is  to  say,  all  that  is 
necessary  is  to  push  the  door  into  its  place,  and 
the  bolt  catches  without  further  trouble. 

The  four  brackets  which  appear  to  support  the 
marble  top  may  be  got  out,  and  fixed  ;  a  couple 
of  brads,  driven  in  from  the  top  and  under 
edges  skew- wise,  will  secure  them ;  they  are 
\  inch  thick,  square  on  edge. 

"When  ordering  the  marble  top,  instruct  the 
merchant  to  bore  three  holes  $  inch  from  the 
back  edge,  one  in  the  centre  and  one  on  each 
side  of  same,  10  inches  from  centre  hole ; 
countersink  on  under-side  to  take  screw  heads. 


266 


PRACTICAL    ORGAN  BUILDING. 


These  holes  are  necessary  for  the  three  screws 
■with  which  to  fix  the  wooden  hack,  which  we 
will  now  deal  with  in  position. 
-  The  length  out  to  out  is  2  feet  3|  inches,  in 
width  5i  inches,  and  thickness  f  inch.  The 
shelf  on  top  is  10|  inches  long  by  3  inches 
wide,  moulded  on  front  and  two  ends  to  section 
(see  elevation  of  top  shelf). 

Lincrusta  Walton  may  be  introduced  as 
door  panels  with  advantage.  Japanese  leather 
paper,  of  suitable  character,  is  often  admired 
when  used  for  such  purposes. 


PRACTICAL  ORGAN  BUILDING. 

By  "ORGAN  BUILDER." 


IV. — Wood  Pipes — (continued). 
|1TH  pipes  less  than  4  feet  in  length,  the 
mode  of  procedure  is  somewhat  dif- 
ferent to  that  just  described.  The 
operation  is  the  same  as  far  as  the  sides  being 
planed  to  a  width.  In  shorter  pipes,  the  backs 
and  fronts  project  \  inch  over  each  side,  and  are 
the  same  length  as  the  sides  (3  inches  longer 
than  the  dead-speaking  length  at  0  C).  After 
they  are  planed  up,  lay  the  back  on  the  bench, 
and  put  the  connected  portion  over  it,  with  the 
front  edges  upwards ;  fix  the  front  on  in  its 
place  with  a  wooden  peg  1  inch  long  (shoe- 
makers' pegs  answer  the  purpose  admirably, 
and  are  very  cheap)  through  the  bottom  end 
into  the  middle  of  the  block,  and  another  at  the 
top  end  into  the  side  ;  turn  the  pipe  over,  and 
with  a  marking-point  prick  the  top  corners  of 
the  block  on  the  inside  of  the  front,  and  with  a 
pencil  mark  the  in  sides  of  the  sides  on  the 
same  for  4  inches  up  ;  then  peg  the  back  on  in 
a  similar  way,  take  off  the  front,  measure  one- 
third  of  the  width  of  the  block,  and  mark  it  on 
the  pencil  lines  just  drawn.  One  leg  of  the 
compasses  should  be  put  to  the  mark  left  by  the 
point.  Lay  a  square  from  one  top  dot  to  the 
other,  and  with  a  sharp  knife  cut  the  front 
across  between  the  black  lines  \  inch  deep  ;  this 
forms  a  clean  square  edge  for  the  lip.  At  J  inch 
below  the  points  representing  the  top  of  the 
block,  cross-cut  the  front  half-way  through,  and 
the  pipe  is  ready  for  the  glue. 


It  will  save  some  trouble  if  a  third  line  is 
made  on  the  scale.  Ascertain  the  third  of  the 
width  of  each  consecutive  C,  and  draw  a  line  to 
connect  them  similar  to  the  width  and  depth  lines, 
or  the  distance  may  be  marked  on  the  front  with 
a  pair  of  proportionate  compasses  set  to  a  third ; 
this  will  do  away  with  the  measuring  for  each 
separate  pipe. 

Wind  some  strong  string  round  the  end  of  a 
piece  of  stuff  2  feet  long ;  fix  the  wood  in  the 
bench-screw,  and  make  a  slip-knot  at  the  end  of 
the  cord.  When  glueing  up  pipes,  have  every- 
thing handy,  as  the  work  has  to  be  done  very 
quickly.  The  back  edges  will  be  glued  first, 
and  the  back  put  on  its  place ;  the  pegs  will 
hold  it  there.  Turn  the  pipe  over,  and  glue  the 
front  of  the  sides  (taking  care  that  no  glue  is 
left  on  the  mahogany,  and  that  the  sides  are 
dry)  J  inch  below  the  top  edge  of  the  block  ; 
knock  the  front  on,  pass  the  slip-knot  round  the 
block  end,  and  turn  the  pipe  round  and  round 
to  use  up  some  of  the  string ;  do  not  pull  too 
tight,  or  the  string  will  snap,  and  you  will  find 
yourself  in  a  horizontal  position  very  near  the 
ground.  Eemember  to  have  the  front  or  back 
facing  you,  so  as  to  pull  them  close  to  the  sides ; 
a  better  joint  is  formed  in  this  way  than  any 
other  way,  except  hand-screws  or  steel-clips,  but 
no  amateur  is  provided  with  sufficient  of  either. 
The  piece  projecting  over  the  sides  takes  the 
delves  made  by  the  tightening  of  the  cord. 
Have  some  thin  hot  size  ready  made  in  a  good- 
sized  saucepan,  and  pour  about  two  pints  of  it 
down  the  pipe.  Part  of  the  throat  may 
be  chopped  out  to  admit  this  if  necessary. 
Hold  the  pipe  with  the  top  end  over  the  pot, 
and  tilt  the  block  end  up  slowly  until  the  size 
begins  to  run  out.  Let  it  fall  to  the  bottom, 
and  turn  the  pipe  over  on  to  its  second  side  ; 
raise  the  block  again,  and  so  on,  until  all 
the  four  sides  have  been  so  treated,  when  the 
remainder  of  the  size  must  be  run  out.  Wet 
the  outside  well  all  round,  and  lean  the  pipe, 
with  the  back  up,  against  a  wall  or  other  con- 
venient place,  block  upwards,  and  leave  it  to 
dry.  Putting  the  size  in  in  this  manner  coats 
the  whole  of  the  inside  more  evenly,  and  forms 
a  small  ridge  in  the  angle  of  each  corner,  which 
adds  considerably  to  the  strength  of  the  joint. 


PRACTICAL    ORGAN  BUILDING. 


267 


TThen  quite  dry,  take  off  the  strings,  jack  the 
projecting  pieces  down  level  with  the  sides,  and 
clean  off  the  bottom  ends.  Pipes  less  than 
a  foot  long  will  be  sized  with  the  glue  that  is 
being  used  for  putting  on  the  fronts,  and  the 
sides  when  they  are  connected  with  the  block. 


roughly  for  1^  inches  wide  in  the  middle  of  the 
pipe,  until  the  chisel  meets  the  knife  cut  from 
the  inside,  and  take  out  the  piece  over  the  top 
of  the  block.  Be  very  careful  over  this  opening 
process. 

If  the  pipes  are  to  be  stopped,  square  off  the 


A 

0                e 
a 

CJ 


FIG. 4-6.       r"!C47. 
ScabSuutfi   Scate3in*tft.        FIG.  4-1 


FIG. 4-2. 


FIG. 4-5  FIG.  4-9.  F|C3e 

Scale.Zm-M.      So3le.3in-IH.  Scale.Zin-/ft 


Sc3le2in-lft.  Seals  Zm-Ht. 


U-~l/ 


FIC.37. 


Now  cut  off  the  lower  portion  of  the  front 
that  covers  the  block.  Start  the  saw  so  that  it 
will  descend  into  the  kerf  already  cut  from  the 
inside ;  this  will  prevent  any  marks  being  made 
on  the  face  of  the  block.  At  1\  inches  from  the 
end  of  the  front  thus  formed,  level  the  outside 


top  end  a  semitone  longer  than  the  note  on  the 
scale,  take  off  the  splinters,  and  out  of  a  piece 
of  1  inch  stuff  make  a  stopper  like  a,  Fig.  37. 
Cut  out  sufficient  pine  to  make  six  or  eight  at  a 
time ;  plane  the  length  -h  inch  narrower  thaij 
the  largest  pipe  is  wide,  and  cut  off  one  piece 


268 


PRACTICAL    ORGAN  BUILDING. 


iV  inch  shorter  than  the  pipe  is  deep  ;  bore  a 
hole  in  the  centre,  to  admit  a  \  inch  pin  worked 
on  the  bottom  of  the  handle  (b,  Fig.  37).     This 
represents  a  turned  handle  ;  but  to  those  desirous 
of   saving   the  expense    of   bought  articles,    a 
piece  of  oak,  \  inch  thick  and  \\  inches  wide, 
with  the  corners  taken  off,  and  a  pin   made  on 
the  end,  will  answer  the  purpose  just  as  well. 
A  rip  saw  kerf  is  cut  down  the  length  of  the 
pin  to   admit   a   hard    wood   wedge   from  the 
bottom  side  ;  this  wedge  must  be  put  across  the 
stopper,   not  lengthways,    or  it  will    split  the 
pine.     Bevel  the  piece  a  on  the  top  and  bottom 
sides  for  \  inch  all  the  way  round,  so  as  to  leave 
a  flat  place  in  the  middle  \  inch  wide ;  glue  and 
wedge  the  handle  in,  and  when  dry  fit  one  side 
and  end  into  the  top  of  the  pipe  ;  lay  a  piece  of 
unstrained  leather,  with  the  fleshy  side  over  the 
top  of  the  pipe,  and  plane  the  other  edge  and 
end  of  the  stopper  until  it  will  take  the  leather 
into  the  pipe,  and  be  moderately  tight.     Par- 
ticular care  must  be  taken  that  the  stoppers  fit 
exactly  all  the  way  round ;  more  than  half  the 
bad  notes  produced  by  stopped    pipes  are  the 
result   of  insufficient  attention  being   paid   to 
this  detail.     When  the  piece  will  enter  the  pipe, 
glue  it  on  the  bottom,  lay  it  on  the  leather,  and 
knock  it  down  \  inch  below  the  top ;  trim  the 
leather  off  all  round  the   top,  and   leave  it  to 
dry ;  mark  the  front  of  the  pipe  on  the  handle 
*vith  a  three-cornered  file,  so  that  it  will  be  put  in 
"»  same  way  again.     Handles  will  be  used  for 
P'Pb  over  If  inches  wide.     To  continue  them 
up  to  \e  t0p)  a  piece  js  shaped  like  Fig.  38. 
This    is    he   stopper  for  B  B  gedact.     Pieces 
may  be  glu-fl  together  to  form  the  thickness  of 
the  large   on*   if  necessary  ;  they  are  made  in 
a  similar  wayto  the  blocks;  those  less  than 
1  inch  wide  will-  „  of  mahogany.     They  have 
to  befitted  in  the  jpes  exactly  the  same  as  the 
larger  ones  already  igntioned.     I  generally  cut 
the  stoppers  the  same  ^ngth  as  the  blocks  as  far 
as  C,  and  then  I  take  tum  l  inch  shorter. 

After  the  leather  is  a^  draw  out  all  the 
stoppers,  and  rub  the  leathr  on  a  hoard  tnat 
has  some  black-lead  and  g0d  lard  mixed  on 
it.^  Eub  the  preparation  well- nt0  the  leather; 
this  stuff  prevents  the  size  inm  holding  the 
t  topper,  and  allows  it  to  be  mo^d  up  or  down 


freely.  Now  plane  the  pipes  to  a  thickness ; 
they  should  hold  as  thick  as  possible  at  C  C, 
§  inch  bare  at  tenor  C,  J  inch  at  C',  and  the  top 
note  very  little  more  than  J  inch  thick.  If  the 
sides  are  too  solid,  they  look  clumsy.  Smooth 
over  the  fronts,  and  with  a  sharp  knife  square 
the  line  a,  Fig.  36,  across.  The  proper  place 
for  this  mark  is  the  width  of  the  block,  and  the 
two  sides  above  the  top  edge  of  the  block.  With 
a  cutting  gauge  cut  down  the  front  from  a  to 
the  bottom  end,  the  thickness  of  the  sides ; 
gauge  lightly  at  the  top,  but  at  the  bottom  go 
right  through  the  stuff ;  chamfer  down  nice  and 
smooth  the  outside  of  the  front  between  these 
three  lines  with  a  wide  paring  chisel.  If  care- 
fully done,  the  wood  will  come  out  readily,  and 
leave  a  gap  above  the  block,  and  a  clean  edge 
across  the  pipe  for  the  lip.  Leave  the  lip  £  inch 
thick  at  C  C,  and  thinner  as  the  pipes  diminish 
in  size.  The  top  note  will  be  almost  sharp. 
Mind  the  chisel  does  not  slip,  and  gash  the  face 
of  the  block. 

Smooth  over  the  sides  and  back,  and  make 
each  pipe  a  cap  (c,  Fig.  37)  of  mahogany, 
shaped  similarly  to  those  of  the  open  diapason. 
The  caps  should  always  project  a  trifle  beyond 
the  pipe,  thus  making  them  a  different  thick- 
ness for  each  octave.  Caps  over  2\  inches  wide 
should  be  fixed  with  screws,  and  the  rest  will 
simply  be  glued.  A  foot  will  also  be  fixed  in 
the  centre  of  each  pipe.  In  marking  this  point, 
do  not  forget  to  allow  for  the  caps.  The  pins  of 
the  smaller  feet  may  be  fitted  in  by  boring  right 
through  the  lower  portion  of  the  block  with  a 
centre-bit,  if  it  will  make  a  hole  convenient  to 
the  foot.  Fig.  36  is  a  front  view,  and  Fig.  37  a 
section  of  the  C  C  stopped  pipe  to  continue  down 
the  open  diapason.  This  is  the  commonest  form 
of  block,  etc.,  and  would  be  used  for  the 
stopped  diapason  as  well. 

I  have  now  given  the  details  of  the  principle 
of  construction  of  all  wood  pipes  :  the  next  thing 
to  consider  is  the  way  in  which  the  varieties  of 
tone  are  obtained.  The  scale,  shape  of  the 
block,  height  and  shape  of  the  mouth,  are  the 
most  important  assistants  to  the  difference  of 
quality.  The  following  will  make  this  question 
more  plain  : — 

The  stopped  diapason  produces  a  full  tone  in 


PRACTICAL    ORGAN  BUILDING. 


269 


unison  with  the  open  diapason.  From  the 
gedact  we  get  a  fluty  mellow  quality  by  shaping 
the  block  like  a,  Fig.  39.  The  size  of  C  C  for 
this  stop  will  be  the  same  as  D  D  sharp  on 
Fig.  31,  and  so  on  to  the  top  note  three  sizes 
smaller.  The  length,  of  course,  will  be  the 
same.  The  wind  that  passes  into  the  pipe 
becomes  compressed  by  the  bevel  of  the  block, 
and  is  thrown  with  more  force  against  the  top 
lip,  which  is  left  thick,  and  is  cut  up  half  the 
width  of  the  pipe  internally.  The  notes  from 
C  C  to  tenor  C  will  have  ears  and  beard  to 
accelerate  the  speech.  The  ears  will  not  be 
shaped  like  c,  Fig.  35,  but  simply  pieces  of 
wood  Z\  inches  wide  are  fastened  to  the  front 
and  top  edge  of  the  cap  for  the  beard.  The 
pipe  will  be  made  in  precisely  the  same  way  as 
already  described,  and  the  ears  put  on  after- 
wards. The  shaping  of  the  block  will  be 
carried  up  to  C\  After  that  note  they  may  be 
left  plain,  smaller  in  size  than  a,  Fig.  33.  The 
mouths  will  all  be  cut  up  half  the  width,  and  the 
lips  left  rather  thicker  than  those  of  the  open 
diapason.  The  top  end  of  the  block  will  be 
\  inch  thicker  than  at  C1,  and  sunk  down  \  inch. 
Figs.  39  and  40  represent  the  side  and  front 
view       the  C  C  of  this  stop. 

Figs.  41  and  42  represent  the  lowest  note  of 
a  stopped  bass  to  continue  down  the  gamba, 
dulciana,  or  salcional,  when  these  stops  are 
made  of  metal  to  tenor  C,  and  the  bass  notes  are 
separate  from  the  gedact.  The  tone  is  singularly 
pure  and  quiet.  The  mouths  are  cut  across 
square  to  start  with  the  total  width  of  the 
block,  and  arched  with  a  sharp  knife,  and 
finished  off  with  a  file  when  the  pipe  is 
finished.  The  internal  measurement  is  very 
small,  being  eight  scales  smaller  than  the 
stopped  diapason. 

Fig.  43  is  the  block  for  a  C  C  C  Bourdon  pipe 
(16  feet  tone).  It  is  formed  of  two  pieces  of 
1^-inch  stuff  let  into  the  sides  of  the  pipe  for 
f  inch.  All  pipes  below  G  G  should  have  their 
blocks  made  hollow  after  this  fashion  :  the  lips, 
ears,  and  beard  will  be  adjusted  in  the  same 
manner  as  those  for  the  lower  notes  of  the  open 
diapason.  The  top-piece,  a,  will  be  faced  with 
mahogany. 

Fig.    44   is   a  scale   for  the  thirteen   lowest 


notes  of  this  stop,  after  which  the  pipes  will  be 
the  same  size  as  the  stopped  diapason.  A  small 
scaled  Lieblich  Bourdon  for  the  manuals  may  be 
made  by  stopping  pipes  the  sizes  of  Fig.  32,  and 
cutting  up  the  mouths  one  half. 

Fig.  45  is  a  diagram  of  C'  of  the  Wald  flute. 
This  is  a  4  feet  open  stop  to  tenor  C,  with  the 
lowest  octave  filled  in  with  stopped  pipes, 
twelve  notes  higher  than  the  gedact.  The  tone 
is  clear,  and,  as  its  name  signifies,  wild.  The 
block  will  be  plain,  and  the  ears  bevelled  out- 
wards. The  mouth  will  be  cut  one  quarter  the 
width  from  the  inside,  and  slightly  arched 
afterwards.     The  scale  for  this  stop  is  : — 


LENGTH 

WITHOUT 

WIDTH. 

DEPTH. 

BLOCK. 

Indies. 

Inches.  • 

Feet. 

Inches. 

Tenor  C    .. 

2 

■        2f       . 

3 

10 

Middle  C1.. 

.        If     .. 

•        1*        • 

1 

9 

,.      » 

■  f  by  A  . 

.      1A     • 

0 

10i 

»          C3. 

•      h      ■ 

.  f  by  A  • 

0 

*l 

A  stopped  flute  (4-feet  tone)  may  be  made 
the  same  as  the  gedact — an  octave  higher. 
Holes  will  be  bored  through  the  block-stoppers 
as  far  as  C2.  The  sizes  are  : — To  tenor  C,  J  inch 
round  ;  0,  to  hole  large  enough  to  admit  a  piece 
of  wire  No.  3  gauge.  Every  six  notes  will  have 
a  different  sized  hole  to  admit  wire  Nos.  5,  7,  9 
and  so  on. 

The  bass  octave  for  our  metal  gemshorn  will 
be  filled  in  with  pipes  four  scales  smaller  than 
the  open  diapason. 

Figs.  46  and  47  represent  the  C  C  of  a  2  feet 
open  stop  with  an  inverted  mouth.  This  pipe 
produces  a  beautifully  clear  and  pure  quiet 
quality.  The  block  has  no  throat  cut  out,  but 
a  hole  is  substituted  three-quarters  the  width  of 
the  block  in  diameter.  This  is  bored  after  the 
front  is  glued  on.  The  lip  is  chamfered  down 
from  the  inside  of  the  front,  iu  the  same  way  as 
other  pipes  are  done  from  the  outside  before  the 
front  is  fixed  permanently.  The  mouth  is  cut 
up  a  quarter  the  width.  Thin  mahogany  must 
be  used  for  the  face  of  the  pipe,  which  will 
remain  the  whole  length  of  the  sides.  This 
form  of  pipe  is  used  for  a  2-foot  piccolo  or  an 
oboe  flute  (4  feet  tone,  at  tenor  0).  The  top  notes 
of  the  former  will  be  made  of  metal  pipes.  The 
following  is  the  scale  of  the  piccolo  : — 


270 


110 II r  TO   RE-STRING  A    TENNIS  RACKET. 


WIDTH. 

Inches. 
J, 


DEPTH. 

Inches. 


LENGTH  WITHOUT 

CAP. 

Foot.  Inches. 

1  10£ 

0  10* 

0  5| 

0  2 

0  I 


cc   ...     ...      A      ...      if    ... 

Tenor  C     ...  f  by  A  ...        1        ... 
Middle  C  ...       i       ...  §  byA... 

„       O  ...  J  by  A  ...  IbyrV... 

»       C3...        1       ...       |       ... 

O  is  the  smallest  pipe  made  of  wood. 

Figs.  48  and  49  are  drawings  of  the  front  and 
side  section  of  middle  C1  in  an  8-foot  tone  stop, 
very  little  known  in  English  organs.  This  is  the 
Doppel  flute.  The  pipe  has,  so  to  speak,  two 
fronts ;  that  is,  a  mouth  is  cut  on  each  narrow 
side.  The  tone  is  particularly  round  and  full. 
The  mouth  is  cut  up  one-third  with  a  thickish 
lip,  slightly  arched.  The  stop  rarely  extends 
below  tenor  C  with  double  mouths,  the  lowest 
octave  being  supplied  by  pipes  the  same  as  the 
bass  of  the  gedact.  The  internal  measurement 
of  the  several  Cs  are  : — 

LENGTH  WITHOUT 
DEPTH.  CAP. 

Inches.  Feet.   Inches. 

25  by  A  ...        2 
If        ...        1 
11- by  A  ...        0  6J 

\  I        ..         0  3 

I  think  I  have  now  touched  on  most  kinds  of 
wood  stops  used  in  the  majority  of  organs,  with 
the  exception  of  the  claribella  and  the  clarionet 
flute.  The  former  is  an  8-foot  open  stop  ranging 
from  middle  Cto  the  top  note,  four  scales  smaller 
than  the  open  diapason.  The  latter  is  an  8-foot 
tone  pipe,  three  scales  less  than  the  stopped 
diapason,  with  the  mouth  cut  up  one-third,  the 
ears  bevelled,  and  holes  bored  down  the  stoppers 
two  sizes  larger  than  those  of  the  stopped  flute. 
In  the  next  chapter  I  intend  to  describe  the 
various  forms  of  metal  pipes. 


Tenor  C 
Middle  C 
„       O 
„       & 


WIDTH. 

Inches. 
If 

I 


To  Eenovate  Worn  Papiee  Mache.— Paint 
it  with  about  three  coats  of  Japan  black  (not 
Brunswick  black).  If  you  want  it  very  smooth, 
rub  the  two  first  coats  down  with  a  wet  rubber 
of  flannel  charged  with  powdered  pumice-stone, 
leaving  the  last  one  untouched,  and  you  will 
have  a  bright  and  lasting  result.  Tou  must,  of 
course,  allow  ample  time  for  each  coat  to 
thoroughly  harden  before  rubbing  down  or 
applying  another  coat 


HOW  TO  RE-STRING  A  TENNIS 
RACKET. 

By  a  n.  COLSON. 


ANY  of  the  readers  of  Amateur  Work 
being  lawn  tennis  players,  they  have 
no  doubt  found  that  the  catgut  net- 
ting of  their  racket  in  time  becomes  slack.  To 
these  I  offer  my  experience  of  how  to  tighten  it. 

First,  take  the  racket  and  carefully  mark  on 
the  frame  the  beginnings  and  endings  of  the 
lengths  of  catgut  (as  many  bats  are  strung  with 
two  lengths),  taking  particular  notice  of  the  way 
in  which  the  gut  is  changed  from  the  vertical  to 
the  horizontal  strings,  the  number  of  strings 
there  are  each  way,  and  the  hole  from  which  to 
begin  threading. 

Then  undo  the  gut  from  the  top,  and  take  it 
all  out  of  the  racket,  taking  care,  in  pulling  it 
through  the  holes,  not  to  tear  it,  and  marking 
the  beginning,  i.e.,  the  end  to  be  first  threaded. 

Pub  with  a  dry  cloth,  to  stretch  and  clean  it, 
and  the  gut  will  then  be  ready  for  replacing. 
You  must  now  make  a  lot  of  small  wooden  pegs, 
about  lj  inches  long,  and  tapering  from  J  inch 
diameter  to  the  size  of  the  holes  in  the  frame  ; 
you  will  want  about  two-thirds  as  many  as  there 
are  holes.  These  are  to  be  driven  in  to  hold 
one  string  tight  while  the  next  is  being 
threaded.  You  will  also  want  a  mallet  and  a 
small  hammer. 

Now  take  the  racket,  and  thread  the  marked 
end  of  the  gut  through  the  marked  hole  from 
the  inside  of  the  frame,  letting  it  come  through 
far  enough  to  reach  round  the  edge  nearly  to  the 
handle  ;  turn  this  end  temporarily  down  through 
one  of  the  last  holes,  and  drive  in  a  peg  to  hold 
it  tight. 

The  gut  is  now  tightly  fixed  at  one  end  to  the 
frame,  so  thread  the  other  end  through  the 
first  hole  in  the  top,  which  will  be  (if  there  aro 
eighteen  vertical  strings,  as  in  my  racket)  the 
ninth  from  the  centre  ;  take  two  turns  round  the 
mallet,  and  using  the  handle  as  a  lever,  tighten 
the  gut  till  it  gives  a  rather  high  musical  note 
when  sprung ;  pull  very  quietly  and  steadily,  so 
as  not  to  break  it. 

Then  drive  another  peg  in  the  hole,  to  hold 


HOW  TO  RE-STRING  A    TENNIS  RACKET. 


271 


the  gut  tight,  and  taking  the  turns  off  the 
mallet,  thread  the  gut  down  through  the  next 
hole  and  out  at  the  bottom  through  the  next 
hole  but  one  to  the  first  string,  and  repeat  the 
tightening  with  the  mallet.  Then  up  again, 
tighten  peg,  and  so  continue  until  you  have  got 
the  full  number  of  vertical  strings  in,  being 
careful  that  you  miss  one  hole  between  the  last 
and  the  last  but  one  string. 


This  will  leave  the  gut  (if  the  racket  has  the 
same  number  of  strings  as  mine,  viz.,  eighteen 
vertical  and  nineteen  horizontal)  sticking 
through  the  tenth  hole  from  the  handle  on  the 
opposite  side  to  the  commencement;  turn  it 
down,  and  thread  through  the  second  hole 
below,  the  same  hole  as  the  last  but  one  vertical 
is  in;  then  in  and  out  through  the  vertical 
strings,  and  finally  out  on  the  other  side  by  the 
hole  of  the  second  vertical ;  tighten  with  mallet, 
drive  in  a  peg.  Then  turn  up,  through  the  hole 
that  was  missed  between  Nos.  1  and  2  verticals, 
weave  between  the  verticals  and  out  of  the 
missed  hole,  between  Nos.  17  and  18,  as  in  Fig. 


1,  and  so  on,  taking  care  that  the  horizontal 
strings  pass  alternately  above  and  below  the 
vertical,  that  they  are  straightened  before  being 
tightened  with  the  mallet,  and  are  pegged  at 
every  hole. 

When  all  the  strings  are  finished,  the  coloured 
gut  should  be  put  on  top  and  bottom,  to  keep 
the  lines  at  right  distances  from  each  other, 
twisting  as  in   Fig.   2.     If   the  gut   is  in  two 


~W$>j       j?fiH        Pjj^f       n^J 


lengths,  it  can  be  joined  at  any  hole  by  making 
a  simple  knot  on  the  new  length,  as  in  Fig.  3, 
putting  the  end  of  old  through  and  pulling 
down  into  one  of  the  holes  ;  and,  lastly,  drive  in 
a  peg  for  greater  security. 

The  strings  being  now  all  tight  and  fixed, 
take  all  the  pegs  out,  and  it  only  remains  to 
protect  the  head  to  save  the  gut  from  being  cut 
in  playing.  This  is  usually  done  by  glueing  a 
piece  of  thin  leather  round  the  end,  but  it  is 


FIG.    3. 

much  better  if  a  piece  of  guttapercha  is  substi- 
tuted for  the  leather,  as  it  is  fixed  easier,  holds 
tighter,  and  protects  the  end  better. 

Get  a  strip  of  guttapercha  the  width  of  the 
frame,  and  about  1  foot  long;  see  that  the 
frame  is  quite  dry,  and  hold  the  strip  over  a 
candle  till  the  under  surface  is  melted,  then  put 
it  round  the  end  of  racket,  and  rub  it  down  and 
along  the  sides  with  a  wet  finger.  Leave  two 
days  to  dry,  then  trim  off  edges  with  a  sharp 
knife. 

When  all  is  finished,  give  the  bat,  strings, 
and  frame,  except  handle,  a  coat  of  thin  spirit 
varnish,  and  you  will  find  your  racket  as  good 
as  new. 

The  discomfort  arising  from  a  racket  with 
slackening  strings  will  be  a  thing  of  the  past, 
now  that  Amateur  Work  has  made  known  to 
you  this  inexpensive  way  by  which  the  evil  may 
be  remedied. 


272 


AMATEUR    CONJURING. 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 

By  ARTHUR  HARLEY. 


VI. — A  Cabinet  of  Marvels. 
|N  this  paper  I  shall  endeavour  to  make 
plain  the  working  (or  rather  station- 
ary) parts  of  a  new  "  cabinet  of 
marvels."  The  illusion  will  be  at  once  under- 
stood by  a  glance  at  Fig.  16,  in  which  it  will  be 


Haggard's  interesting  book,  in  which  "  She  " 
rose  out  of  a  kind  of  soup  tureen.  Now,  in 
these  enlightened  days,  anything  savouring  of 
a  mystery  always  draws  crowds  of  people,  so 
that,  although  we  know  that  the  professor's 
"  magic"  is  "  sleight  of  hand,"  we  still  go  and 
see  it ;  at  least,  I  know  I  do.  Well,  now  "  Lend 
me  your  ears,  friends,  Romans,  conjurors,"  I 
mean  "countrymen."  [Misquotations,  bad  puns, 
&c,  are  not  Amateuk  Woek  ;  so  get  on  with  the 
paper. — Ed.]     From   Fig.  16,    as  I  mentioned 


FiG.19. 


F I G. 18. 


DESCRIPTION    OF    FIGURES. 

FIG.  l6.  — FRONT  VIEW  OF  ILLUSION,  SHOWING  SECRET 
PANEL  ;  B,  SECRET  PANEL.  FIG.  l6A. — GROUND  PLAN 
OF  SAME.  FIG.  17.— CORNICE.  FIG.  l8. — SECTION  OF 
PILLAR  SHOWING  SPRING.  FIG.  19. — DITTO,  SHOWING 
PERSON  IN  POSITION.  FIG.  20. — PATTERN  FOR  TURNED 
LEGS  (SCALE  3  INS.  TO  I  FOOT).  FIG.  21. — METHOD  OF 
"HALVING."  FIG.  22.— SKETCH  OF  FRAMEWORK.  A,  B, 
C  AND  D  ARE  THE  FOUR  PILLARS  ;  E,  F  AND  G  ARE 
CROSSBARS. 


observed  there  is  a  head  without  a  body.  It  is  | 
not  a  new  thing  in  itself,  I  know,  as  it  was  j 
practised  by  the  Egyptians,  I  believe,  though 
not  exactly  in  the  same  way.  But  to  proceed. 
The  idea  has  already  been  worked  out  in  several 
different  ways ;  for  instance,  I  daresay  many  of 
you  remember  the  "talking  head,"  in  which  a 
box  was  brought  on  to  the  stage  by  the  pro- 
fessor, and  placed  on  a  three-legged  table,  and 
on  being  opened  (the  box,  not  the  table)  a  head 
was  seen  to  be  inside,  which  answered  any 
question  put  to  it  by  the  audience.  Then,  later 
on,  I  saw  what  was  called  "  She,"  after  Eider 


before,  you  can  see  the  idea.  Well,  this  paper 
is  for  those  who  intend  to  make  the  cabinet 
themselves.  I  know  some  of  you  will  say,  "  we 
cannot  do  it  all  ourselves."  Can't  you,  though ! 
You  do  not  know  what  you  can  do  till  you  try. 
First  we  must  have  a  lathe  ;  if  you  have  not 
got  one,  you  must  either  go  to  a  wood  turner's 
(which  I  do  not  advise),  or  get  a  lathe  ;  it  will 
not  only  come  in  useful  for  the  work  now  on 
hand,  but  a  lathe  is  always  useful,  if  you  know 
how  to  use  it  properly. 

The  wood  may  be  either  deal,  pine,  oak,  or 
any   other  wood   which   takes   your    fancy.     I 


AMATEUR    CONJURING. 


273 


hTOttilM^ 


FIG.  16 


advise  pitch-pine ;  it  is  cheap,  and  when  well 
»easonei  as  durable  almost  as  oak.  See  that 
whatever  wood  you  use  is  well  seasoned.  What 
we  shall  want  will  be  so  much  half-inch,  so 
much  inch,  and  three-inch  stuff.  Of  course  you 
must  make  your  own  working  drawings  to  the 
scale  in  which  you  prefer  to  work,  as  perhaps 
many  of  you  do  not  care  to  go  by  any  hard  and 


FIC.20. 


fast  rules.  I  shall  not  go  into  the  details  of 
making  the  cabinet ;  but  it  ought  to  be  well 
made,  because  when  it  is  not  in  use  as  a  piece  of 
conjuring  apparatus,  it  can  be  used  as  a 
wardrobe. 

A  good  height  is  about  6  feet  (inside  measure- 
ment). You  will  want  3-inch  stuff  for  the  parts 
of  the  frame  where  there  is  most  strain,  on  the 


274 


FRETWORK  OR  INLA  Y  DESIGNS. 


bottom,  for   instance ;   the    inch  wood   for  the 
lighter  framing,  and  the  |-inch  for  the  back  and 
sides.     Now,  the  delusion  consists  in  the  use  of 
two  mirrors  placed  at  an  angle,  as  shown  by  the 
plan  (Fig.    16,    a).     The   mirrors  must  be  the 
same  width  as  the  sides  of  the  cabinet.     Thus,  if 
the  cabinet  is  6  feet  high,  4  feet  wide,  and  3  feet 
deep,  the  mirrors  must  be  3  feet  by  6  feet  When 
you   have   got  the   framing  together,  an   easy 
method  of  jointing  is  by  "halving,"  as  in  Fig. 
21,  or  mortise  and  tenoning,  as  in  Fig.  22.     The 
last  method  is  the  best,  undoubtedly,  as  then  you 
could  have  the  four  posts  (a,  b,  g  and  d  in  Fig. 
22)  each  in  one  piece.    I  think  if  you  follow  the 
drawing,  Fig  22,  in  your  work,  you  will  not  be 
far  out.     Then  turn  four  legs  as  in  Fig.  20. 
The  drawing  is  J  size.     Do  not  put  these  on 
yet.     Now  we  want  the  doors,  of  which  there 
must   be   two  for  the   front.     You   can   either 
make  the  doors  by  the  halving  method  (if  you 
do  it  this  way,  do  it  very  neatly),  or  by  mortising 
in  the  proper  way.     And  now  let  me  impress 
upon   the    workman    the    necessity    of    doing 
strongly  and  neatly  the  work  in  hand.     I  do 
not  want  to  tell  you  how  to  build  a  kind  of 
rabbit-hutch  with  a  piece  of   wood  across  the 
sides,  another  on  the  back,  and  propped  up  at 
the  sides  like  an  old  pigsty ;  if  it  is  done  with 
taste  (and  I  hope  it  will  be),  it  is  fit  for  any 
bedroom  when  not  in  use  on  the  stage,  and  the 
owner   need  not   fear  that   the   secret  will  be 
found   out,  because,   if  neatly  done,   discovery 
will  be  almost  impossible. 

And,  by-the-bye,  do  not  put  the  doors  on  yet. 
Have  all  planed  up  neatly  and  a  true  fit,  and 
then  leave  the  frame  to.  just  "shake  itself  to- 
gether "  for  twenty -four  hours,  and  then  look  at  it 
again  and  see  if  any  of  the  joints  have  started. 
Now  you  want  some  1-inch  stuff  for  the  back. 
The  top  crossbar  (e,  Fig.  22)  must  have  a 
J-ineh  "rabbet"  in  the  back,  the  bottom  back 
crossbar  (f)  also,  to  allow  the  wood  to  be  flush 
with  the  bars. 

(To  be  continued.) 


Paper  or  Leather  may  be  waterproofed  by 
the  following  compound  :  White  or  yellow  wax, 
1,000  grammes  ;  Burgundy  pitch,  60  grammes; 
oil  of  arachide,  80  grammes ;  sulphate  of  iron, 
50  grammes ;  essence  of  thyme,  20  grammes. 


FRETWORK  OR  INLAY  DESIGNS. 

By  ROBERT  COXON. 

(For  Illustrations  see  Folding  Sheet  presented  with  this  Fart.) 
|HESE  designs  are  intended  more  es- 
pecially for  finger-plates,  but  as  will 
be  apparent,  they  might  serve  several 
purposes  in  fretwork,  and  would  be  found  very 
effective  if  executed  in  a  good  hard  wood  with 
clear  flowing  and  neat  outlines.  The  general 
characteristics  being  in  a  Rennaissance  style  of  a 
thoroughly  original  character,  many  of  the 
readers  will  welcome  them  as  a  change  from 
the  designs  which,  in  the  present  condition  of 
decorative  art,  are  too  commonly  founded  upon 
flowers,  birds,  grasses,  etc.  These  designs, 
therefore,  are  more  applicable  to  work  which, 
in  the  main  lines,  partakes  of  the  classic  order, 
in  a  tasteful  rendering  of  the  acanthus  stems, 
and  conventional  forms,  with  genu  supports. 

The  designs  are  mainly  suited  for  fretwork, 
but  I  have  reversed  the  order  of  shading  in  the 
drawing  of  them,  to  give  a  more  delicate  effect  ; 
and  for  those  who  would  use  them  for  cut  inlays 
in  brass  or  other  metals  or  wood,  the  difference 
will  be  apparent,  in  that  the  work  would  be 
much  improved  by  a  few  line  cuts  of  the 
tool,  scarcely  more  than  is  shown  ;  this  would 
be  found  to  much  enhance  metal  work  in 
particular. 

If  when  using  the  designs  for  inlay  work  two 
kinds  of  wood,  a  dark  and  a  light,  be  used,  a 
pleasing  effect  will  be  produced,  that  will  be 
rather  a  relief  when  we  are  satisfied  with 
fretwork. 

If  used  for  finger-plates,  a  good  plan  would 
be  to  mount  the  work,  after  completion,  on  a 
background  of  gold  or  bronze ;  or  a  good  coloured 
background  might  be  used,  at  the  worker's 
option,  so  long  as  the  colour  used  does  not 
contrast  too  glaringly  with  the  paint  work  of 
the  door. 

As  a  panel,  about  1 5  inches  by  1 0  inches,  for 
piano  front,  or  other  purpose,  design  No.  2 
would  apply  well  as  flanking  end  pieces,  to 
No.  1,  with  either  ornamental  initials,  date,  or 
other  figures  in  centre  circle,  the  intervening 
spaces  being  filled  with  a  more  simple  network 
character,  at  the  discretion  of  the  worker. 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


275 


EQUATORIAL  MOUNTING  FOR 
TELESCOPES. 

By  OLIVER   BEGKERLEGGE. 

II.— Gnomon  for  the  Polar  Axis— Mode  of  Con- 
structing the  Latter — Marking thf.  Declination 
Axis— Testing  for  Accuracy— Fixing  in  Position 
— Clamping — Circles. 

0=11111  A.  YING  mastered  these  foundation 
S  l«P 1  facts,  we  shall  with  ordinary  skill  and 
BwiSrSsI  patience  be  able  to  construct  a  stand 
capable  of  very  efficient  work.  Procure  a  piece 
of  hard  well-seasoned  wood,  oak  or  mahogany, 
21  inches  long  by  12  inches  wide,  and  2  inches 
thick ;  true  the  long  edge  up,  and  mark  off 
2  inches  from  one  end ;  this  is  for  the  base. 
Two  tenons  must  be  cut,  as  shown  in  dotted 
lines,  Fig.  7.  The  other  end  must  be  cut  off  at 
the  required  angle.  To  do  this,  lay  the  template 
on  the  wood,  being  careful  that  the  angle  is 
correct  with  tbe  base  line ;  let  the  edge  be 
planed  perfectly  true.  Out  of  similar  wood  cut 
a  circle,  find  the  centre,  and  draw  a  line  through 
the  diameter.  On  either  side  of  this,  and  equi- 
distant from  it,  draw  another  line ;  the  space 
between  these  two  must  be  equal  to  the  thick- 
ness of  the  gnomon  to  be  mortised  into  it ;  Fig.  8 
(e),  shows  this.  On  either  side  a  strut  must  be 
mortised  into  the  base,  dd.  The  utmost  care 
must  be  taken  that  the  long  side  is  perfectly 
square  with  the  base. 

If  our  work  has  been  done  carefully,  our 
gnomon  e  will  be  absolutely  perpendicular  to 
the  base  c,  and  perfectly  rigid.  The  line  cutting 
across  the  diameter  of  c  must  be  squared  down 
the  edges,  so  that  we  can  find  it  when  the 
gnomon  is  in  its  idace. 

Procure  2  feet  9  inches  of  stout  brass  tubing, 
about  1£  or  2  inches  diameter ;  it  must  be  per- 
fectly straight,  and  if  any  bruises  are  in  it,  they 
must  be  taken  out  with  a  burnisher  used  on  the 
inside.  Cut  a  circle  of  brass,  say  5  inches  in 
diameter,  and  at  least  J  inch  thick  ;  thicker  than 
this  rather  than  thinner ;  one  end  of  the  tube 
must  have  a  thread  chased  on  it,  and  a  central 
hole  in  the  plate  must  have  a  thread  cut  to 
receive  it ;  screw  the  plate  on  as  shown  in  Fig.  7, 
h.  If  solder  be  sweated  into  the  joint,  it  will 
then  be  as  strong  as  a  casting. 


Turn  a  piece  of  wood  up,  so  that  when  it  is 
cut  in  two,  the  cut  ends  will  enter  the  tube  ;  the 
wood  should  be  slightly  conical,  so  as  to  make  a 
firm  fit.  Put  the  tube  in  the  lathe,  centred  on 
the  wood.  It  may  be  that  the  tube  does  not 
seem  quite  true ;  tap  it  gently  until  by  the  eye 
and  trial  it  runs  between  the  centres  dead  true. 
Now  turn  the  outside  face  of  h  perfectly  true  ; 
the  greatest  possible  care  must  be  taken  in  this 
matter.  It  will  be  better  if  there  is  just  the 
suspicion  of  hollowness  towards  the  centre. 

The  under  side  must  be  cleaned  up,  but  no 
more  must  be  taken  off  than  necessary,  as  it 
must  be  left  as  thick  as  possible  after  truth  is 
secured.  This  tube  must  now  be  secured  to  the 
gnomon,  as  shown  in  Fig.  7,  by  two  straps  cut 
out  of  sheet  brass ;  they  should  be  14  by  2  by 
^  inch.  If  the  tube  is  of  the  same  diameter  as 
the  gnomon  is  thick,  no  difficulty  will  be  ex- 
perienced in  fixing  it,  provided  the  straps  are 
bent  true.  If,  however,  the  tube  is  less  in 
diameter,  the  difference  must  be  divided  on 
each  side,  and  the  straps  let  in.  Care  must  be 
taken  that  the  centre  of  the  tube  is  coincident 
with  the  centre  of  the  gnomon. 

The  polar  axis  (Fig.  14)  must  now  engage 
our  attention.  Cut  a  length  of  iron  tubing 
rather  too  large  to  enter  the  brass  tube ;  into 
one  end  screw  an  iron  plug,  allowing  it  to  pro- 
ject 1  inch;  centre  it,  and  turn  in  a  lathe  per- 
fectly true,  and  small  enough  to  pass  easily,  but 
without  shake,  into  the  brass  sleeve  (f,  Fig.  7). 
The  plug  must  be  turned  down  to  \  inch,  the 
shoulder  being  cut  somewhat  hollow,  so  as  to 
give  good  bearing.  This  plug  must  have  a 
thread  cut  on  it,  and  be  fitted  with  a  nut.  Make 
a  disc  of  brass  8  inches  diameter  and  §■  inch 
thick  ;  this  must  be  screwed  on  to  the  plug,  and 
secured  in  its  place  by  the  nut ;  the  bearing 
surface  of  the  nut  must  be  turned  true,  so  as  to 
bear  evenly  on  the  plate.  Perhaps  it  will  be 
advisable  to  drill  a  small  hole  through  the 
plate.and  into  the  shoulder,  to  receive  a  small 
steel  screw,  to  be  covered  by  the  nut ;  this  will 
give  greater  strength,  and  take  off  the  strain 
from  the  threads  in  the  brass.  This  axis  must 
now  be  put  in  the  lathe  on  the  centres  on  which 
it  was  first  turned,  and  the  disc  must  have  each 
side  turned  perfectly  level. 


276 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


FIC  II. 

firacltet  for  carrying 
th£  Telescope 


FIC    7 
Telescope  mounted. 


FIC    14. 
Volar  fj.r/^s 


EQUATORIAL  MOUNTING  FOR    TELESCOPES. 


277 


If  our  work  is  properly  done,  when  the  axis 
is  put  in  its  position  the  two  plates  will  bear 
evenly,  and  it  will  move  smoothly.  Although 
I  have  mentioned  brass,  yet  I  think  a  disc  of 
zinc  would  answer  quite  as  well,  and  I  should 
say  would  be  much  cheaper. 

A  fine  line  must  be  made  across  the  diameter 
of  the  disc.  It  will  be  best  to  scribe  this  line 
before  the  central  hole  is  turned,  taking  care 
that  the  centre  of  the  hole  is  on  the  line ;  measure 
off  from  the  centre  3  inches  each  side  on  the 
line,  and  bore  a  §  hole  to  receive  the  shank  of 
the  bearing  (Fig.  10).  Make  a  pattern  in 
wood,  base  3^,  height  2,  thickness  \\,  shank  § 
by  \  long,  and  have  them  cast  in  brass  ;  let  them 
be  fitted  perfectly  square  and  true.  The  gland, 
b,  must  be  fitted  to  the  bearing,  and  secured 
with  bolts  and  nuts.  It  will  be  understood  that 
they  will  be  cast  solid,  and  not  with  the  hole. 

The  base  and  shank  must  be  turned  so  as  to 
set  true.  Put  them  in  position,  as  shown  in 
Fig.  9,  seeing  that  they  are  parallel  with  each 
other,  and  perpendicular  to  the  line  scribed  on 
the  diameter  of  the  disc.  Now  with  a  scribing 
block  see  if  the  height  of  the  lower  bearings,  or 
the  line  where  the  gland  joins,  is  the  same.  On 
the  face  of  the  bearing  scribe  a  line  square  with 
the  diameter  line  on  the  disc.  Where  this 
scribing  crosses  the  head  of  the  bearing,  where 
the  gland  rests,  mark  with  a  punch ;  this  is 
the  centre  of  the  hole  to  receive  the  de- 
clination axis.  The  necessity  for  accurate 
work  will  be  seen  when  we  consider  that 
it  is  absolutely  necessary  that  the  declination 
axis  should  be  perpendicular  to  the  polar, 
and  that  the  centre  of  the  polar  axis  must 
be  the  point  around  which  the  declination  axis 
travels.  If  our  work  is  true,  then,  in  whatever 
position  the  instrument  is  placed,  the  one  axis 
will  be  perpendicular  to  the  other ;  and  if  this 
be  so,  and  the  angle  of  polar  axis  points  to  the 
pole  of  the  heavens,  the  instrument  if  turned 
round  will  cut  circles  parallel  with  the  equator, 
and  a  star  will  remain  in  the  field  of  view 
during  the  whole  time  it  is  above  the  horizon. 

The  holes  for  the  journals  must  be  turned 
out  in  a  lathe,  as  that  is  more  likely  to  produce 
accuracy  than  drilling.  Either  the  top  of  the 
bearing  or  the  under  side  of  the  gland  must  be 


filed  away  a  little,  so  as  to  enable  the  gland 
to  be  screwed  down  upon  the  journal.  When 
the  bearings  are  bolted  in  their  place,  lay  the 
axis  in  position,  and  tighten  up.  We  shall  now 
see,  fust,  by  a  square  if  the  axis  is  not  only  coin- 
cident with  the  central  line  of  the  disc,  but 
whether  its  centre  is  coincident  or  too  far  to  the 
right  or  left.  If  we  have  taken  all  possible  care, 
such  small  adjustment  as  is  necessary  can  be 
made  by  enlarging  the  hole  of  the  disc  on  one 
side,  and  shifting  the  bearing.  When  the  exact 
place  is  found,  tighten  up  the  nut,  and  mark 
position.  In  the  second  place,  we  must  test  it 
to  see  if  it  is  parallel  with  the  disc,  or  perpen- 
dicular to  the  polar  axis.  If  any  slight  cor- 
rection is  needed,  with  a  fine  cut  file  or  scraper 
take  off  as  much  as  is  needed  from  the  base  of 
the  bearing  ;  great  care  must  be  taken  that  too 
much  is  not  taken  off,  or  the  other  block  will 
have  to  be  served  in  the  same  way.  When 
proper  adjustment  is  secured,  with  a  touch  of 
solder  tack  the  bearing  to  the  plate,  and  from 
the  under  side  drill  and  tap  two  holes  through 
the  plate  into  the  bearing,  to  take  two  steel 
screws  with  countersunk  heads.  The  nut  may 
now  be  taken  off,  and  the  shank  cut  off  level 
with  the  under  side  of  the  plate.  Solder  may 
be  run  round  the  joint,  and  then  cleaned  off. 

Although  for  convenience  we  have  supposed 
the  declination  axis  to  be  completed,  yet,  as 
a  matter  of  fact,  we  have  not  at  present 
commenced ;  so  we  must  go  back  in  our  de- 
scription. 

Procure  2  feet  6  inches  of  iron  piping,  I \  inches 
outside  measurement ;  into  one  end  screw  a 
plug  to  project  an  inch.  On  this  end  either 
shrink  a  ring  of  iron  2  inches  broad,  or  else  get 
a  brass  boss  cast  around  it.  Centre  it  in  a 
lathe,  and  turn  it  true  its  whole  length.  Turn 
the  boss,  as  shown,  with  a  collar  (m,  Fig.  12).  The 
plug  must  be  turned  down,  and  a  thread  cut  in 
it,  as  in  the  other  case.  Our  next  business  will 
be  to  make  a  bracket  (as  Fig.  11)  to  attach  the 
telescope  to  the  declination  axis.  It  may  be 
cast  in  brass,  forged  in  iron,  or  made  in  three 
separate  pieces,  as  shown ;  the  latter  plan  will 
be  the  easier  for  the  amateur  worker.  One 
thing  to  observe  is  that  the  legs  of  the  bracket 
are  so  adjusted  that  the  centre  of  the  tube  shall 
vol.  in.  (n.s.1 — z 


278     HOW  TO  DRIVE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER. 


be  perfectly  parallel  with  the  polar  axis  ;  if  this 
is  not  so,  no  matter  how  accurately  the  polar 
axis  is  fixed,  the  instrument  cannot  cut  circles 
parallel  with  the  equator.  A  fiie  or  scraper 
must  be  used  until  the  tube  beds  perfectly  true. 

A  second  thing  to  secure  is  that  the  centre  of 
the  declination  axis  is  coincident  with  the  axis 
of  the  telescope ;  or,  in  other  words,  the  centre 
of  the  tube  must  be  coincident  with  the  centre 
of  the  polar  axis.  We  have  already  levelled 
the  top  of  our  pedestal,  and  have  found  the 
true  north.  We  have  also  a  mark  on  the  base 
of  the  gnomon,  indicating  the  centre.  Place 
the  gnomon  on  its  pedestal,  and  bring  the  lines 
level,  and  clamp  it  in  its  position. 

Now  with  a  plumbob  try  if  the  centre  of  the 
sleeve  (f,  Fig.  7),  to  carry  the  polar  axis  at  each 
end,  is  true  with  the  n  and  s  on  the  pedestal ;  if 
not,  adjust  it  until  this  is  the  case.  Whilst  the 
gnomon  is  thus  firmly  clamped,  place  the  instru- 
ment on  the  stand,  and  direct  it  to  any  star,  and 
clamp  it  there,  and  try  whether,  by  turning  the 
instrument  slowly  round,  the  star  can  be  kept 
in  the  field  of  view. 

The  polar  axis  can  be  altered  a  little,  if 
necessary,  by  unscrewing  one  of  the  straps,  and 
inserting  a  thin  wedge  of  brass  ;  if  placed  under 
the  upper  end,  of  course  the  polar  axis  will  be 
raised ;  or  if  at  the  lower  end,  depressed.  As 
is  shown  in  Fig.  7  (g),  a  thread  is  cut  on  the 
extreme  end  of  the  declination  axis,  and  a 
counterbalance  of  iron  or  lead  is  run  up,  so 
that  all  twisting  strain  is  taken  off. 

Some  means  must  be  devised  to  clamp  the 
instrument  in  position ;  this  can  be  done  by  two 
milled-headed  screws  passing  through  the 
glands,  as  shown  in  Fig.  10  (a)  ;  the  screws 
should  be  at  least  §  diameter,  so  as  to  have  a 
good  bearing  on  the  journal ;  the  end  should 
be  flat,  so  as  to  have  the  largest  bearing 
surface. 

Circles  might  be  added,  but  the  dividing  of 
circles  is  altogether  beyond  the  means  of  the 
amateur.  Whilst  the  stand  is  clamped  to  the 
pedestal,  four  holes  must  be  drilled  through  the 
base  for  bolts  to  fasten  it  to  the  pedestal,  when 
the  clamp  may  be  removed.  Now,  with  a  coat 
or  two  of  white  lead  paint  to  the  woodwork, 
our  task  is  completed. 


HOW   TO   DRIVE 

A  LATHE    AND    CIRCULAR  SAW 

BY    WIND   POWER. 

By   REV.  A.   THOROLD. 


II. — Uprights— Vektical  Axle  —Cog-wheels — 
Reversing  Gear— Conclusion. 

AVING   fixed   our   uprights,  we   now 

proceed  to  tie  them  together,  and  this 

we  do  in  a  twofold  way — first  by  an 

all-round  tie,  and  then  by  cross-pieces. 

The  all-round  tie  is  simple  (Fig.  1).  We  take 
four  pieces  of  similar  scantling  to  the  uprights, 
and  notch  them,  so  that  when  caught  together 
outside  the  uprights,  they  will  embrace  them 
sufficiently  firmly  to  stay  in  position.  The 
notches  are  halved,  by  which  arrangement  the 
tie  is  level  all  the  way  round,  and  affords  a  bed 
for  the  first  floor  of  our  mill. 

The  second  series  of  tie  is  cross  worked  in  the 
form  of  a,  Fig.  2.  These  also  are  halved,  and 
when  mitred  are  placed  between  the  uprights, 
as  in  Fig.  2.  Having  bolted  all  these  into  their 
places  with  square-headed  bolts,  not  nails,  we 
go  up  6  feet,  a  storey  higher,  and  once  more  tie 
the  head  round  with  a  similar  all-round  tie  to 
that  used  below  ;  and  still  higher  again,  at  an 
interval  of  2  feet,  we  place  yet  another.  We 
now  have  two  floors  and  two  chambers  in  our 
mill — the  upper  one  for  the  sail  beam,  and  the 
lower  one  for  the  strap  wheel  and  gear.  In  order 
to  ensure  our  being  able  to  drive  our  lathe  or 
circular  saw  in  any  wind,  we  will  make  use  of 
the  flat  series  of  sails  described  in  our  last  paper. 
Being  of  considerable  size,  doubtless  it  will  pre- 
sent a  somewhat  unusual  appearance,  but  if  our 
purpose  is  answered,  that  will  not  matter.  It 
does  not  seem  necessary  to  enter  again  into  the 
description  of  these  sails,  and  therefore  reference 
should  be  made  to  the  paper  containing  these. 

All  that  need  be  said  is  that  to  drive  a  lathe 
and  circular  saw  it  will  not  be  safe  to  arrange 
for  sails  less  than  8  feet  across  and  a  depth  of 
2  feet  at  the  extremity  of  the  wings.  The  plat- 
form and  head  to  cover  the  sails  will,  of  course, 
be  in  all  respects  like  the  one  originally  described, 
and  all  must  be  hung  as  there  directed.  The 
platform,  upon  which  the  sail-head  revolves, 
must  be  supported  from  below  by  struts. 


BOW  TO  DRUE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER.     279 


We  now  come  to  parts  of  our  machine  which 
must  be  purchased — that  is,  the  axles,  band- 
wheels,  crown-toothed  wheels,  and  straps. 

Let  us  see  what  we  require. 

First,  there  will  be  the  vertical  axle  upon 
which  the  sails  are  fastened.  For  stability 
sake,  this  must  drop  into  a  socket  in  a  cross- 
piece  fixed  between  the  lowest  all-round  tie. 
Upon  this  axle,  and  below  the  sails,  is  keyed  a 
large  erown-toothed  wheel,  locking  into  a  similar 
but  much  smaller  one  on  a  horizontal  axle,  in 
the  head  of  the  mill.  Upon  this  axle  a  broad 
wheel  is  also  attached,  for  carrying  the  driving 
strap.  The  extremities  of  the  axle  are  supported 
by  uprights  fastened  to  the  framework.  Going 
down  a  little  further  in  our  mill — that  is,  into  the 
division  below,  we  find  a  similar  axle  fitted  with 
two  plain  strap  wheels,  one  larger  than  the  other. 
The  smaller  one  carries  the  6trap  from  the  wheel 
above,  and  the  larger  one  takes  another  strap 
into  the  workshop  below. 

Now,  going  down  into  the  shop,  we  have  an 
axle  overhead,  and  on  the  same  side  of  the  shop 
as  that  on  which  our  lathe  and  saw-bench  stand  ; 
this  axle  must  run  the  same  distance  overhead 
as  the  length  of  floor  occupied  by  the  machine 
to  be  driven.  Upon  this  are  four  strap  wheels, 
one  carrying  the  strap  from  the  mill,  and  the 
other  three  straps  from  the  axle  to  the  machines. 

In  order  to  provide  for  a  considerable  speed, 
our  wheels  are  arranged  on  a  definite  system. 
First  it  must  be  arranged  that  the  crown-toothed 
wheel  on  the  sail  axle  is  a  large  one,  while  the 
interlocking  cog-wheel  on  the  horizontal  axle, 
perhaps,  is  four  or  five  times  smaller.  Therefore, 
the  smaller  wheel  will  revolve,  say,  five  times 
for  every  single  revolution  of  the  sails.  The 
horizontal  axle,  which  revolves  five  times  also, 
carries  a  strap  wheel,  which  in  its  turn  must  be 
much  larger  than  the  cog-wheel  on  the  same 
axle  ;  but  it  will,  of  course,  revolve  an  equal 
number  of  times.  Now,  if  this  strap  wheel  is 
again  connected  with  the  axle  below,  as  already 
directed,  and  the  wheel  to  which  it  is  connected 
be  much  smaller,  we  should  again  get  a  large 
increase  of  revolutions.  For  instance,  if  the 
lower  strap  wheel  is  five  times  smaller  than  the 
upper  one,  tne  lower  one  will  revolve  five  times 
faster,  or  twenty-five  times  faster  than  the  sails. 


And  finally,  if  we  carry  the  strap  to  yet  a  smaller 
wheel  on  the  axle  in  the  workshop,  our  speed 
will  be  increased  in  the  same  ratio  as  the 
diameter  of  the  lowest  wheel  compared  with  the 
centre  one  is  reduced.  By  a  little  calculation  of 
respective  sizes  on  the  principle  thus  described, 
we  may  arrange  for  any  fixed  number  of  revolu- 
tions of  our  lathe  or  saw-driving  wheel  which 
we  think  fit.  It  is  hardly  necessary,  perhaps, 
to  say  that  a  very  high  speed  is  required  for  a 
circular  saw,  and  that  we  must,  therefore,  not 
forget  to  make  our  overhead  arrangements  to 
match. 

The  overhead  axle  in  the  workshop  must  be 
hung  on  two  strong  iron  brackets  or  arms, 
fastened  upon  the  wall  or  upon  breasts  of  wood 
placed  for  the  purpose. 

There  are  now  before  us  two  further  steps, 
one  of  which  is  imperative,  and  the  other 
optional. 

We  must  arrange  to  be  able  to  put  our  lathe 
and  saw  out  of  gear  at  a  moment's  notice,  and 
we  may  also  arrange  for  gear  to  reverse  our 
machines  at  a  similar  emergency. 

The  first  presents  no  difficulty,  and  is  usual 
enough,  but  the  second  is  unusual ;  but  beiDg 
specially  asked  for  by  our  correspondent,  will 
be  described,  although  it  requires  some  com- 
plicated arrangements,  and  will  be  rather 
costly. 

On  looking  at  Fig.  3,  we  see  a  treble  series  of 
wheels,  the  second  and  third  of  which  are  sup- 
ported by  arms  lying  above  the  main  driving 
axle,  d,  e,  s  are  three  wheels  of  equal  diameter 
and  width,  to  carry  the  strap  between  the  axle 
and  the  machines,  d  is  the  driving-wheel ;  s  is 
the  stopping,  or  out  of  gear  wheel;  r  is  the 
reversing  wheel,  b  is  a  solid  axle,  which  runs 
from  end  to  end  between  our  machines,  and  upon 
it  are  fastened  d,  the  driving  wheel,  and  o,  a 
large  cog-wheel,  e  is  an  axle  fitting  into  the 
frame  spoken  of,  carrying  two  cog-wheels,  the 
outer  one  of  which  interlocks  with  c.  p,  the 
second  and  inner  of  these  two  cogs,  interlocks 
with  f,  the  third,  or  intermediate  series  of 
cogged  wheels,  which  in  its  turn  locks  into  l, 
which  is  fastened  upon  the  solid  boss  of  the 
baud  wheel,  b.  It  will  be  noticed  that  the  axle 
a,  upon  which  the  cog-wheel  l,  and  r,  the  band- 


280    HOW  TO  DRIVE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER. 


wheel,  or  reverser,  are  fixed,  is  considerably 
greater  in  diameter  than  the  axle  b  ;  a  is  a 
larger  and  hollow  axle,  and  b  fits  and  passes 
through  it. 

The  axle  b  is  suspended  at  its  extremities, 
while  a  runs  separately  in  the  arms  o,  o. 
Now  let  us  consider  how  these  various  wheels 


different  direction  to  o  ;  but  upon  the  same  axle  as 
l  is  fixed,  the  band  wheel,  e,  is  fastened,  r,  con- 
sequently, will  travel  in  the  same  direction  as  l  ; 
but  l,  we  said,  is  travelling  round  in  a  different 
direction  to  c,  therefore  r  is  revolving  in  the 
opposite  direction  to  d,  or  c.  Directly,  there- 
fore, we  slip  our  band  off  d,  the  driving  wheel 


act,  and  notice  what  they  do.  The  driving 
wheel,  d,  is  moving  round  towards  us  as  we  stand 
facing  it ;  the  cog-wheel,  c,  being  on  the  same 
axle,  B,  it  also  is  moving  round  toward  us.  But  c 
locks  into  n  ;  n  travelling,  however,  in  the 
opposite  direction  to  c.  p,  on  the  same  axle  as 
n,  travels  also  in  the  same  direction,  p  locks 
into  p,  and  causes  f  to  rotate  in  the  opposite 
direction ;  that  is,  in  the  same  direction  as  c. 
f  locks  into  l.  and  l,  in  its  turn,  revolves  in  the 
opposite  direction  to  f  ;  l  then  is  travelling  in  a 


upon  r,  the  reversing-wheel,  the  band  will  be 
carried  in  the  opposite  direction. 

Coming  further  to  the  left,  we  see  s.  s,  as 
has  been  explained,  is  the  out  of  gear  wheel, 
and  if  we  look  at  it  as  it  hangs  in  situ,  we 
notice  that  it  is  quite  stationary. 

We  have  already  said  that  these  three  band 
wheels  are  of  equal  diameter.  If  we  look  again 
at  the  diagram,  we  shall  see  that  s  upon  a  hollow 
axle  is  hung  loose,  as  also  is  R,  and  l  upon  a, 
through  which  B  passes. 


HOW  TO  DRIVE  A  LATHE  AND  CIRCULAR  SAW  BY  WIND  POWER.     281 


The  hollow  axles,  however,  upon  which  s  and 
r  hang,  are  short — in  fact,  only  long  enough  to 
carry  s  and  k  and  l.  One  end  (the  outer  in  each 
case)  of  the  axles  is  fastened  upon  arms  (m,  m) 
projecting  from  the  wall,  while  the  other  is 
furnished  with  a  screw  head  large  enough  to 
keep  the  wheels  in  their  place  on  the  axles.  It 
must  be  remembered  that  the  axles  carrying  p, 
f,  and  l,  be  over  each 
other  in  the  frame.  Now 
if  we  slip  the  driving  band 
off  d  upon  s,  it  is  plain 
that  our  machine  will  stop 
at  once,  since  the  strap  is 
passed  upon  a  wheel 
which  is  stationary. 

We  have  now  three 
powers  at  our  command ; 
we  may  go  forwards,  or 
backwards,  or  we  may 
throw  everything  out  of 
gear. 

Both  lathe  and  circular 
saw  will  require  a  similar 
arrangement  to  that  already 
described. 

The   next   consideration 
before   us  is  the   method 
of   utilising   these  three 
powers.     This  is  effected 


by  means  of  a  sliding  rod,  like  Fig.  2.     The 
band  passes   through  a  hollow  portion  or  slot 
at  a,  while  the  ends  of  the  rod  pass  through 
arms.     At  the  end  of  the  rods  are  screwed  eyes ; 
through  these  eyes  are   fastened  cords,  which 
in  turn  are  carried  over  pulleys,  and  hang  down 
near  the  lathe.     By  these  means  the  cords  are 
brought   within  reach  of   the   operator   at  the 
lathe.     When   the    right- 
hand   cord  is  pulled,  the 
slot    in    the     rod     above 
carries  the  band  with  it  to 
and  when  the  opposite 
cord   is  pulled,   the  band 
is  either  brought  back  to 
its  original  position,  d,  or 
taken  from  d  to  e.      It 
will,   however,    be   found 
necessary  at  times  to  stop 
not  only  the  machines  but 
the  mill  itself.  This  may  be 
easily  and  promptly  done 
by   hanging    a    weighted 
catch  upon  a  wooden  arm, 
below  the  top  floor  in  the 
head  of  the  mill ;  one  ex- 
tremity is  flat,   while  the 
other  is  like  one  end  of  a 
clock  escapement ;  the  flat 
part  is  a  good  deal  heavier 


FIG.   4. 


282 


A    COMBINATION  TAB  IE,    CUPBOARD,    AND    COAI  BOX. 


than  the  crooked  portion.  Through  a  hole  in 
the  flat  end  we  pass  a  cord,  which  being  carried 
by  a  pulley  and  a  second  arm,  is  brought  within 
reach  of  the  operator  below.  Immediately  over 
this  latch,  a  slot  is  cut  in  the  top  floor  of  the 
mill,  through  which,  on  the  cord  being  loosened, 
the  crook  passes,  catches  the  sails,  and  stops 
them.  Another  hole,  however,  in  the  flat  part 
of  the  catch,  carries  a  second  cord,  which  in 
turn  being  pulled,  restores  the  catch  to  its 
original  position,  and  allows  the  mill  to  revolve 
again. 

Very  little  more  remains  to  be  done.  We 
attach  our  bands,  and  then  fill  in  the  roof  as 
far  as  possible,  and  over  the  portion  through 
which  the  bands  pass  it  will  be  necessary  to 
erect  a  small  roof  of  planking.  We  must  also 
cover  in  the  framing  of  the  mill,  one  side, 
however,  being  in  the  form  of  a  series  of  doors, 
to  enable  us  to  get  easily  at  the  internal 
arrangements  when  requisite.  The  directions, 
it  must  be  understood,  are  in  a  certain  degree 
general  in  their  character  :  an  alteration  in  the 
position  of  the  mill,  inability  to  place  the  lathe 
and  saw  bench  side  by  side,  may  necessitate  a 
re-arrangement  of  details.  But  so  far  as  principles 
are  concerned,  those  now  described  are  such  as 
will  best  suit  the  necessities  of  most  cases  ;  and 
with  such  before  him,  any  person  who  has  the 
ability  to  use  such  an  apparatus,  would  also 
possess,  one  would  suppose,  the  power  to  adapt 
and  alter  this  as  his  circumstances  may  make 
needful. 

In  case  it  is  not  possible,  for  any  reason,  to 
build  the  proposed  mill  immediately  overhead, 
the  alternative  plan  is  a  similar  erection  to  that 
already  described,  upon  the  ground  on  stout 
uprights,  to  as  great  a  height  as  possible.  In 
this  case  the  band  will  have  to  be  longer,  and 
since  also  it  will  be  exposed  to  weather,  a  light 
covering  or  shed  must  be  arranged  for  its 
protection.  Under  such  circumstances,  probably, 
some  of  the  Willesden  waterproof  paper  might 
be  used  with  advantage. 

It  must  not  be  forgotten  that  if  we  decide  to 
provide  ourselves  with  reversing  gear,  more 
power  will  be  required,  the  friction  of  the 
machine  being  much  increased  by  the  numerous 
wheels.     In  this  case,  either  the  length  of  the 


sails  must  be  increased,  or  their  width.  The 
greater  the  length  the  greater  the  leverage, 
and  hence  the  greater  the  power  exerted  upon 
the  centre.  But  as  we  also  increase  the  size  of 
our  sails,  so  must  we  also  increase  the  strength 
of  our  building.  Also,  the  revolving  head  of 
the  mill  or  cowl  which  covers  the  sails  must  be 
provided  with  hinged  shutters,  which  can  be 
pulled  down  over  the  open  part  when  the  mill 
is  likely  to  be  out  of  use  for  a  considerable 
time,  or  wet  and  wind  will  do  much  harm. 
For  so  large  a  cowl  as  will  be  required  for 
our  purpose,  a  different  construction  is  advis- 
able to  that  spoken  of  in  the  small  water 
machine.  Let  this  one  be  circular  instead  of 
square — in  fact,  an  actual  cowl.  For  this  we 
shall  require  an  iron  cage  (see  Fig.  4),  upon 
which  we  must  stretch  oiled  canvas.  This  will 
be  far  lighter  than  a  square  wooden  con- 
struction ;  the  tail  iron  must  be  forged  on  to 
the  uprights  of  the  cowl.  It  only  remains  to  be 
said  that  all  the  fittings  must  be  good  and  true  ; 
that  all  outside  work  must  be  tarred  or  painted ; 
and  that  the  internal  arrangements  of  the  mill 
must  be  kept  oiled  and  in  good  running  order. 


A  COMBINATION  TABLE, 
CUPBOARD,  AND  COAL  BOX. 

By  C.  MAYNARD  WALKER. 


IN  preparing  the  above,  first  with  a  view 
to  my  own  use,  and  secondly  as  a  suit- 
able subject  for  the  readers  of  Amateur 
Work,  I  was  naturally  much  influenced  by  the 
varied  desiderata  which  presented  themselves, 
not  the  least  of  which  was  that  the  design 
should  be  easily  made  up  by  an  average  amateur 
in  woodwork;  also,  that  it  should  be  of  con- 
venient dimensions  suited  to  an  ordinary  sitting 
or  "bedroom — not  too  clumsy,  on  the  one  hand, 
nor  too  small  to  be  of  real  service,  on  the  other  ; 
further,  that  it  should  be  sufficently  ornamental, 
so  as  not  to  be  out  of  place  in  a  drawing-room, 
or  any  place  it  might  occupy.  In  this  I  was 
careful  that  the  method  of  construction  should 
not  be  difficult,  and  bo  ultimately  tempt  the 
amateur  to  daub  it  over  with  a  thick  coat  of  paint, 


A    COMBINATION  TABLE,    CUPBOARD,   AND    COAL    BOX. 


283 


to  hide  various  sins  in  joinery,  etc.  Thus  the 
worker  will  find  all  the  joints  of  the  simplest 
character  ;  and  if  the  stuff  he  prepared  with  any- 
thing like  ordinary  care,  an  upright  and  true 
piece  of  work  should  result  with  a  minimum  of 
effort. 

Of  its  usefulness  not  much  need  he  said,  for 
everyone  is  aware  of  the  necessity  of  some 
kind  of  receptacle  for  coals  in  a  room,  the 
more  out  of  sight  the  hotter,  which  shall  he 
handy  and  convenient,  and  also  be  adapted  to 
receive  the  various  inevitable  Utter  and  waste 
which  accrues  in  a  room  at  all  times,  such  as 
paper,  ash,  used  matches,  and  other  debris 
offensive  to  the  eye  of  the  tidy  housewife,  to 
say  nothing  of  her  sometimes  less  sensitive 
partner. 

Fig.  1  illustrates  the  completed  article,  which 
represents  a  square  pedestal  cupboard  about  13 
inches  square  by  about  2  feet  8  inches  in  height ; 
these  dimensions,  of  course,  admitting  of  any 
amount  of  alteration.  If  intended  to  stand  against 
a  wall,  the  fourth  side  need  not  be  decorated  ;  but 
seeing  the  small  amount  of  labour  required,  it  is 
better  to  decorate  the  four  sides,  and  the  cupboard 
can  then  occupy  any  position. 

The  materials  required  will  be  a  sufficiency  of 
i  inch  pine,  four  lengths  of  1  inch  square  deal 
laths  (or  preferably,  in  the  latter  case,  wood  of 
more  grain  and  beauty  when  finished  ;  this  is  a 
matter  of  taste  entirely)  and  some  f  inch  deal 
for  the  coal  box ;  the  pine  should  be  obtained  in 
boards  not  less  than  1 1  inches  wide  ;  if  1 2  inches 
can  be  obtained,  so  much  the  better.  Cut  up 
four  2  feet  6£  inch  lengths  of  the  inch  stuff,  and 
plane  them  up  straight  and  true  for  the  up- 
rights, and  having  decided  upon  the  exact  width 
of  the  panels,  cut  up  and  plane  four  2  feet 
lengths  of  the  pine.  Take  particular  care  that 
these  are  cut  true  and  square  with  each  other,  as 
upon  this  part  of  the  work  will  depend  the 
general  truth  of  the  whole. 

Lay  these  aside,  and  prepare  two  pieces : 
one  for  the  inside  at  bottom  of  panel,  the  other 
for  inside  at  top  of  panel;  mark  off  accu- 
rately upon  the  uprights  3J  inches  at  both 
ends,  and  proceed  to  glue  two  of  the  panels  into 
position ;  this  should  be  done  upon  a  flat  surface, 
60  as  to  let  the  panels  lie  flush  with  the  back  of 


each  upright,  showing  when  finished  a  square 
corner. 

While  this  work  is  drying,  prepare  four  pieces 
3J  inches  wide,  scrolled  somewhat,  as  shown  in 
Fig.  1,  at  bottom,  and  4  pieces  of  the  same  width, 
but  long  enough  to  overlap  the  two  uprights,  and 
to  allow  of  cutting  a  mitre  for  making  a  square 
joint  for  the  top  fronts.  If  the  panels  are  dry, 
the  third  one  may  be  put  into  its  place,  and  the 
work  of  glueing  up  the  top  fronts  and  bottom 
scrolls  proceeded  with ;  care  should  be  taken  that 
the  work  stands  upon  a  flat  and  true  surface, 
and  frequent  use  made  of  the  square,  so  as  to 
ensure  theuprights  being  perpendicular;  and  that 
the  panels  are  flush  with  the  uprights  at  back, 
while  the  overlapping  pieces  are  flush  with  the 
fronts,  it  will  be  necessary  to  fit  four  lengths  of 
the  same  material  as  the  top  pieces,  about  1  inch 
wide,  on  the  top  edges  of  panels  just  under  the 
cross-pieces,  and  projecting  about  \  inch;  this 
will  not  only  fill  up  the  space,  but  give  the  work 
a  much  stronger  appearance.  Of  course,  one 
panel  must  be  left  free  for  the  door  of  the  cup- 
board, which  must  be  subsequently  hung  by 
hinges  to  one  of  the  uprights. 

The  bottom  of  1  inch  deal,  previously  cut,  can 
now  be  fitted  into  its  place  at  a  point  near  the 
top  of  the  scrolled  cross-piece  at  the  base,  by 
glueing  some  struts  across  each  side,  and  then 
fixing  the  bottom  by  the  same  process.  The 
top  shelf  should  be  fitted  into  a  relatively  similar 
position  at  the  bottom  of  the  aross-pieces,  and 
need  not  be  stronger  than  the  £  inch  pine. 
Whether  it  is  made  with  three  or  four  sides,  will 
be  determined  by  the  manner  of  fitting  the  table- 
top  :  if  hinged,  the  shelf  will  be  accessible  from 
the  top  ;  if  fixed  rigid,  it  can  only  be  got  at  from 
the  door,  and  must  then  have  only  three  sides. 

For  the  top  of  the  table  will  be  required  a 
square  of  %  inch  pine,  17  inches  each  way,  being 
sufficient  to  overlap  each  corner  by  |  inch.  The 
joint  is  easily  made  by  planing  the  edges  true 
and  bringing  them  together  upon  a  flat  surface 
with  scalding-hot  glue,  gently  moving  the  sur- 
face either  way,  so  as  to  ensure  contact  with  the 
least  quantity  of  glue.  "When  dry  the  joint 
should  be  a  good  one,  and  the  four  sides  care- 
fully planed  up ;  upon  the  top  of  this  the  tray 
should  be  formed,  by  glueing  on  four  lengths  of 


284 


A    COMBINATION  TABLE,    CUPBOARD,   AND    COAL  BOX. 


Tray  top 


>-' 


Coal  Box 
(open) 


c 


J  i  Swing 
\  \stopresi 


FIG.    2.— DIAGRAM    SHOWING   INTERIOR   ARRANGEMENT   OF 
CELLARETTE. 

planed  pine  1  inch  deep,  and  the  top  edges  fluted. 
This  is  a  very  easy  matter,  and  an  effective 
method  of  ornamentation ;  use  a  round  file 
about  §  inch  thick,  and  at  equal  distances  make 
a  clean  cut  hollow ;  the  same  finish  may,  if 
preferred,  be  given  to  the  edges  of  the  table  top. 
Now  for  the  coal  box  as  shown  in  Fig.  2. 
This  is  a  simple  affair,  and  needs  no  further 
description  in  its  construction,  except  that  the 
worker  must  remember  to  fasten  the  sides  on  to 
the  bottom ;  not  the  bottom  on  to  the  sides,  or 
the  rough  usage  of  filling  coals  will  soon  loosen 
it ;  also,  it  should  be  fitted  on  its  front  base  with 
a  round  iron  rod,  which  in  its  turn  fits  into  a 
slotted  wooden  bar  on  each  side,  loose  enough  to 
be  easily  dropped  into  position  or  removed.  The 
front  of  the  box  must  also  be  fitted  with  a  hinged 
stop  piece,  b,  about  6  inches  wide  (Fig.  2),  so 
that  when  in  use,  as  the  coal  box  works  on  the 
bar,  it  falls  and  forms  a  rest  at  a  convenient 


FIG.    I. — PERSPECTIVE   VIEW    OF   COMBINATION    TABLE, 
SHOWING  OVERLAID    DECORATION. 

angle,  and  renders  the  upsetting  of  the  box  im- 
possible. By  these  two  arrangements  no  jar  or 
strain  is  thrown  upon  the  table,  the  motion  being 
at  the  same  time  very  convenient. 

The  work  should  now  be  well  sandpapered  to 
a  thoroughly  smooth  surface,  as  it  is  intended  to 
be  varnished.     The  overlaying  patterns,  a,  b,  and 


A    COMBINATION  TAB  IE,    CUPBOARD,   AND   COAI  BOX. 


285 


There  remains  now  only 
to  put  the  finishing  touches, 
in  the  way  of  varnishing ; 
and  to  obtain  the  best 
effect  from  this,  the  work 
should  be  given  a  coat  of 
size,  and  allowed  to  tho- 
roughly dry,  when  a  coat 
of  copal  or  oak  varnish 
will  complete  what,  I  trust, 
has  been  a  not  unpleasant 
task,  and  will  be  found  a 
very  useful  servant. 


c  (Fig  3),  should  be  cut  out  of  darker  wood ;  empty 
cigar  boxes  will  serve  admirably,  and  after  being 
sandpapered,  glued  into  position.     The  centre 
leaves  should  be  fixed  round  a  centre  about 
2  inches  in  diameter,  and  a  very  pretty  effect 
is    produced   by  fastening    at    each    of    the 
stems  a  brass  rosette.     These  can  be  had  at  any 
ironmonger's  shop,  and  are  known  as  "  roses  " — 
such  as  are  used  in  gas-fittings. 

The  four  scrolls  (Fig.  4)  for  the  corners  should 
be  cut  out  of  the  pine,  and  glued  diagonally, 
necessitating,  of  course,  planing  down  the 
corner  of   the  upright.      The  reader  will 
have  noticed  that  thus  far  we  have  used 
neither  screws  nor  nails,  and  yet  the  work  is 
remarkably  strong  and  rigid ;  this  is  explained 
by  the  fact  that  in  proportion  to  the  width  of 
the  work  there  is  a  very  large  surface  of  glued 
jointing  with  very  little  leverage,  so  that  the 
structure,     although     made      of      such     light 
materials,  is  a  really  substantial  and    service- 
able job. 


FIG.  3.— FULL-SIZED  PATTF.RNS    OF  OVERLAID    DECORATION, 


286 


THE  MAGIC  LANTERN:  HOW  TO  MAKE   AND    USE  IT. 


THE  MAGIC  LANTERN  :  HOW  TO 
MAKE  AND  USE  IT. 

WITH    FULL    INSTEUCTIONS    FOE 
MAKING  A   £50   OUTFIT   FOE   £5. 

By   W,  A.  ALLEN,  Inventor  and  Manufacturer  of  Lime- 
Light  Apparatus. 


VI.— Making  the  Gases— Ether  Saturator— Using 
the  Light  for  Stage  Purposes — A  Word  about 
Limes. 

.0  make  the  gases  :  for  oxygen,  mix  1  lb. 
of  black   oxide    of    manganese  with. 
4  lbs.  of  chlorate  of  potash  ;  put  about 
a  quarter  of  it  in  the  retort,  and    firmly  screw  a 


suck  the  water  out  of  the  purifier,  and,  to  say 
the  least  of  it,  you  will  have  steam  instead 
of  oxygen. 

"When  the  chemicals  are  exhausted,  first  turn 
off  the  cock  at  the  bag,  disconnect  all  tubes, 
then  take  the  retort  off  the  fire,  unscrew  the  cock, 
and  wash  out  the  inside  under  the  water  tap  ; 
use  plenty  of  water  ;  then  put  it  on  the  fire  to- 
dry,  and  it  is  ready  for  the  next  time.  If  this 
cleaning  process  is  not  done  while  the  retort  is 
still  hot,  the  contents  will  cake  and  harden,  and 
give  a  lot  more  trouble  to  get  out. 

The  hydrogen  can  be  got  from  the  house 
pipes  ;  but  pure  hydrogen  will  give  a  far  better 


rr\ 


F1C.37. 


FIC.  40. 


FIG.4I. 


FIC. 38. 


cock  in  the  top  ;  half  fill  the  purifier  with  water, 
get  all  the  air  out  of  the  bag,  connect  it  to  the 
top  tube  of  purifier,  and  the  side  tube  to  the 
retort  ;  see  that  all  is  right ;  open  the  cock  of 
the  bag,  and  put  the  retort  on  the  fire  or  gas 
stove.  (See  Fig.  37.)  The  gas  should  com- 
mence to  come  over  in  a  minute  or  two,  and  will 
make  a  bubbling  noise  when  passing  through 
the  water.  If  allowed  to  go  too  fast,  it  will 
drive  the  water  into  the  bag,  and  give  some 
trouble  ;  it  is,  therefore,  better  to  go  slowly, 
taking  the  retort  off  the  fire  when  getting  too 
hot.  But  care  must  be  taken  not  to  allow 
the  retort  to  get  in  any  way  cold,  or   it   will 


light,  and  can  be  made  very  easily.  Make  a 
lead  or  copper  box,  sqiiare  or  round,  about 
12  inches  diameter  and  12  inches  high;  fix  a 
lead  or  copper  tube  in  the  top,  also  a  large 
screwed  cover  (Fig.  38)  ;  half  fill  with  a  solu- 
tion composed  of  sulphuric  acid,  one  part  to 
water  six  parts  ;  put   in  some  slips  of  common 


GOVERNOR   FOR  MODEL  ENGINE. 


287 


zinc,  and  the  gas  will  immediately  commence  to 
run  off,  with  little  or  no  smell,  and  a  very  thin 
blue  light. 

Another  kind  of  light  is  produced  with  the 
ether  saturator,  which  consists  of  two  tubes  of 
brass,  about  12  ins.  long  and  2  ins.  in  diameter, 
connected  at  the  bottoms,  and  fitted  with  screwed 
ends,  and  again  with  small  screwed  caps.  They 
are  filled  inside  with  a  roll  of  flannel  or  coarse 
cloth,  having  a  spiral  wire  in  the  centre  to  keep 
them  open.     (See  Fig.  39.) 

To  prepare  it  for  use,  unscrew  the  cap  of  one 
of  the  cylinders,  and  pour  in  sufficient  methy- 
lated ether  to  fill  both  cylinders ;  then  replace 
the  cap,  and  allow  it  to  stand  in  that  position 
for  a  few  minutes  to  saturate  the  flannel ;  then 
remove  the  little  caps,  and  pour  back  into  the 
bottle  the  surplus  ether  from  both  cylinders  at 
once  ;  drain  a  few  seconds,  and  screw  caps  on 
tightly. 

To  connect,  get  a  brass  T,  and  screw  the  single 
end  on  the  tube  from  the  oxygen  bag  ;  connect 
one  of  the  top  ends  to  the  lantern,  and  the  other 
to  the  ether  saturator ;  the  oxygen  will  then 
pass  through  the  apparatus,  which  must  be  con- 
nected at  the  other  end  to  the  lantern  at  the 
hydrous  tube.  A  mixed  jet  is  required  for  this 
light,  which  will  be  found  to  give  a  very  good 
light,  and  be  perfectly  safe. 

For  theatrical  purposes,  such  as  throwing 
coloured  lights  on  the  stage,  we  shall  want  a 
different  but  very  simple  lantern.  Make  a  box 
about  a  foot  square  ;  cut  a  hole  in  the  bottom 
to  take  your  condensor  (we  shall  not  want  the 
front  lenses) ;  knock  off  one  of  the  sides,  which 
will  be  the  top ;  fix  the  burner  on  a  piece  of 
wood ;  the  old  side  will  do  if  you  cut  a  piece  off, 
so  as  to  allow  it  to  go  inside  the  box,  and  be 
drawn  from  the  lens,  or  pushed  up  to  it.  A 
strip  of  wood  must  be  nailed  to  the  sides  to  keep 
it  at  the  right  height;  strips  of  wood,  with 
grooves  in  them,  must  also  be  nailed  to  the  out- 
side, to  allow  the  coloured  glasses  to  be  slid  in 
and  out  (see  Figs.  40  and  41).  Or,  better  still, 
gelatine  slides,  made  thus  :  get  a  stout  piece  of 
cardboard  to  size,  and  cut  in  it  a  round  hole  a 
little  larger  than  the  lens  ;  then  fasten  a  piece 
of  coloured  gelatine,  like  that  in  which  some 
kinds  of    sweets  are  wrapped ;  the  colours  are 


beautiful,  and  it  is  very  cheap — about  2d.  for  a 
sheet  24  by  12,  and  does  not  obstruct  so  much 
light  as  glass. 

The  means  for  showing  opaque  objects  is 
another  addition  that  is  worth  making,  and  is 
very  simple.  We  shall  want  a  kind  of  lantern 
or  box  with  a  front  or  focussing  lens  fixed  into 
it,  and  the  burner  to  run  in  from  the  side,  so 
that  when  we  hold  an  article  in  the  light  it  will 
be  reflected  against  the  lens  and  on  the  sheet. 
Of  course  it  will  be  very  small,  but  some  very 
amusing  pictures  can  be  produced  by  a  little 
ingenuity  with  such  things  as  a  rubber  doll's 
head,  sold  in  most  toy-shops,  and  which  may  be 
pulled  into  different  shapes  ;  a  lemon,  if  cut  and 
squeezed,  is  most  amusing. 

A  word  about  the  limes.  Most  exhibitors 
prefer  the  round  turned  ones,  sold  in  boxes  at 
2s.  to  4s.  per  dozen ;  but  why,  I  could  never 
understand,  as  the  common  white  stone  lime  is 
far  better,  and  can  be  got  almost  everywhere, 
except  in  London.  The  limes  sold  at  2s.  to  4s. 
per  dozen  have  to  be  imported  from  somewhere 
else,  and  perhaps  that  has  something  to  do  with 
the  custom  of  putting  them  in  small  boxes  or 
bottles  at  so  exorbitant  a  price. 

I  have  now  only  to  wish  you  success  ;  and  if 
there  is  any  part  in  which  I  have  not  been  suffi- 
ciently clear,  I  shall  be  glad  to  answer  in  the 
"  Amateurs  in  Council  "  column. 


GOVERNOR  FOR  MODEL  ENGINE. 

By  ELECTRON. 


^^raHE  governor  or  centrifugal  pendulum 
"p  is  used  to  equalise  or  regulate  the 
;J|      speed  of  a  steam  engine.     It  consists 


of  a  vertical  or  upright  axle,  fixed  in  a  suitable 
frame,  and  capable  of  being  revolved  by  means 
of  a  belt  and  pulley,  or  by  bevel  wheels.  To 
the  top  of  the  axle  are  fixed  two  rods,  which  have 
metal  balls  on  the  lower  ends  ;  two  short  rods 
are  jointed  to  these  at  the  top  end,  and  to  a 
collar  at  the  lower  end,  which  is  free  to  slide  on 
the  shaft.  A  groove  is  made  in  the  collar,  into 
which  a  lever  or  beam  is  fitted  ;  the  centre  of  the 
beam  is  fixed,  and  at  the  opposite  end  a  rod  is 


288 


GOVERNOR  FOR  MODEL  ENGINE. 


connected  from  the  beam  to  the  throttle  valve. 
As  the  vertical  axle  revolves  round,  the  balls  fly 
outwards,  raising  the  collar,  which  in  its  turn 
raises  the  lever,  and  causes  it  to  partially  close 
the  throttle  valve,  thus  reducing  the  speed  of 
the  engine. 

Governors  are  made  in  various  forms.  ITig.  1 
is  a  side  elevation  of  a  simple  form  of  governor. 
The  section  of  the 
frame  is  of  T 
shape  ;  it  must  be 
made  strong,  and 
is  bolted  to  the 
bedplate  in  any 
convenient  posi- 
tion. A  boss  is 
formed  at  the  top, 
which  is  drilled 
for  the  vertical 
axle  to  pass 
through ;  the  axle 
is  turned  parallel, 
and  is  fixed  in  a 
step  or  bearing  at 
the  bottom  end. 
A  collar  must  be 
formed  upon  it,  to 
prevent  it  from 
being  lifted  out  of 
the  bearing.  A 
pulley  is  keyed  on 
the  lower  end, 
and  a  similar 
pulley  is  keyed  on 
the  engine  shaft, 
and  the  two  con- 
nected by  a  belt. 
At  the  top  end  of 


f"  I  C.I.  jElevujtwn.  of  Governor 


end  being  forked,  and  having  two  short  pins 
fixed  inside,  which  are  fitted  to  the  groove  in  the 
collar.  The  beam  is  hung  in  the  centre  by  a 
pin  in  a  support  screwed  to  the  frame ;  at  the 
other  end  it  is  connected  by  a  rod  to  the  throttle 
valve.  The  beam  may  be  of  any  length,  to  suit 
the  position  in  which  the  governor  is  fixed,  and 
the  rod  may  pass  upwards  if  more  convenient. 

The  throttle  val- 
ves are  made  in 
various  ways ;  the 
one  shown  is  a 
cylinder,  with  an 
inlet  pipe  at  the 
bottom,  and  an 
outlet  pipe  near 
the  top.  The 
cylinder  is  bored, 
and  has  a  piston 
fixed  on  the  rod 
from  the  beam ; 
this  rod  passes 
through  a  stuff- 
ing -  box  in  the 
cover  of  the  cylin- 
der. The  piston 
is  fitted  steam 
tight  in  the  cylin- 
der, and  the 
length  of  the  rod 
is  adjusted  so 
that  the  piston  is 
clear  of  the  top 
outlet  when  the 
governor  is  at 
rest. 

The   joints   of 
the  cylinder  are 


the  axle  a  bearing  for  the  two  rods  is  fixed,  the 
rods  being  secured  by  pins  or  screws  in  slots  at 
each  side  of  the  bearing ;  the  rods  are  screwed 
at  the  lower  end,  and  the  balls  are  fixed  by 
nuts,  a  hole  being  drilled  through  the  centre  of 
each.  The  short  rods  have  double  ends  at  the 
top,  and  are  connected  by  pins  or  screws  to  the 
rods  carrying  the  balls.  At  the  lower  end  they 
are  fixed  to  a  bearing  with  slotted  ends,  formed 
on  the  top  side  of  the  grooved  collar. 

The  beam  is  made  as  shown  in  Pig.  2,  the 


made  tight,  and  the  piston  rod  is  packed,  to  pre- 
vent any  escape  of  steam.  When  the  governor 
is  set  in  motion,  the  balls  fly  outwards  by  centri- 
fugal force,  lifting  the  sliding  collar  by  means  of 
the  rods;  this  raises  the  beam,  depresses  the 
opposite  end  attached  to  the  piston,  and  causes 
it  to  partially  close  the  outlet,  reducing  the 
supply  of  steam  to  the  engine.  When  the  speed 
of  the  engine  and  governor  decreases,  the  balls 
fall  inwards,  raising  the  piston,  and  admitting 
more  steam. 


AMATEURS  PHOTOGRAPHIC  STUDIO. 


289 


AN    AMATEUR'S   PHOTOGRAPHIC 
STUDIO. 

PRIZE  PAPER  IN  COMPETITION   NO.  VI. 
By  G.  PIRIE. 


ANY  of  the  readers  of  Amateur  Work, 
who  are  amateur  photographers,  have, 
doubtless,  at  some  time  or  other,  been 
put  to  considerable  inconvenience  for  want  of  a 
studio.  I  will  therefore  endeavour  in  this 
paper  to  help  them  by  describing,  and  showing 
how  to  construct  a  studio  which  may  be  built  by 
any  ordinary  amateur. 

Before  beginning  the  actual  construction,  let 
us  consider  a  few  points  which  ought  to  be 
attended  to. 

Form. — There  are  three  forms  in  general  use  : 
the  lean-to,  the  full-span,  and  the  half-span. 
The  lean-to  is  undoubtedly  the  easiest  to  con- 
struct, and  also  the  cheapest,  as  one  side  is 
supposed  to  be  already  built ;  but  the  low  roof 
is  an  objection,  and  one  cannot  always  get  a 
wall  in  a  suitable  position  to  build  against. 

The  full-span  is  a  very  good  shape,  and  if  the 
amateur  does  not  mind  a  little  extra  expense,  I 
would  advise  him  to  build  one  of  this  form.  But 
most  amateurs  will  not  care  to  lay  out  much 
money  on  a  studio,  since  they  may  not  require 
one  often. 

The  half -span  might  be  called  the  "  happy 
medium"  ;  more  material  is  required  than  for 
the  lean-to,  but  not  so  much  as  for  the  full-span. 
The  accommodation  is  good,  owing  to  the  ridge 
on  the  roof,  and,  what  is  most  important  of  all, 
the  light  is  good. 

Size. — The  studio  ought  to  be  as  large  as 
possible.  A  very  convenient  size  is  30  feet 
long,  15  feet  broad,  and  15  feet  high;  but  as 
this  is  larger  than  many  would  care  to  build, 
the  studio  described  here  will  be  16  feet  long, 
12  feet  broad,  and  15  feet  high.  A  smaller 
building  than  this  would  be  useless  for  many 
purposes,  and  it  would  not  be  advisable  to 
build  one. 

Position. — A  northern  exposure  is  best,  on 
account  of  the  freedom  from  direct  sunshine, 
in  consequence  of  which  it  affords  a  more  steady 
light,  which  tends  to  uniformity  of  results. 


The  Studio  Described. — The  studio,  of  which 
the  following  is  a  description,  has  a  half-span 
roof  ;  the  length  from  end  to  end  of  the 
building  is  16  feet,  the  breadth  12  feet,  the 
height  at  eaves  6  feet,  and  at  the  ridge  15  feet. 
The  materials  of  which  it  is  made  are  wood, 
paper,  and  glass ;  but  more  particulars  of  this 
further  on. 

Foundations. — A  trench,  about  9  inches  deep 
and  1  foot  broad,  will  first  have  to  be  dug  (see 
Fig.  2);  in  this  brickbats,  etc.,  must  be  placed 
to  the  depth  of  6  inches,  and  well  rammed 
with  a  rammer ;  above  this  is  placed  gravel, 
till  the  whole  reaches  to  within  about  1  inch 
from  the  level  of  the  ground.  A  wooden  frame, 
16  feet  3  inches  by  12  feet  3  inches,  made  from 
7-inch  by  3-inch  battens,  is  now  placed  on  the 
prepared  foundation.  When  the  frame  is  made 
and  perfectly  square,  it  must  have  a  good  coat 
of  coal-tar,  which  may  be  obtained  from  the 
gasworks  for  nothing.  After  this  is  dry,  the 
frame  is  mortised  for  the  uprights  (Fig.  2),  and 
put  in  its  place. 

Framework. — The  uprights  are  now  put  in 
position,  and  the  rest  of  the  framework  fixed. 
The  exact  positions  of  the  uprights  and  of  the 
horizontal  rails  are  shown  in  Figs.  4,  5,  and  6. 
The  four  corner  posts  are  4  inches  square,  and 
the  rest  of  the  framework  is  made  from  3^-inch 
by  2J-inch  quartering.  When  the  framework 
is  in  place,  the  corner  posts  ought  to  stand  out 
£  inch  from  the  rest  on  every  side,  and  the  joints 
must  all  be  flush  in  the  inside. 

Eoof. — A  ridge  board  (Fig.  7,  b)  is  now 
required  for  the  roof ;  the  rafters  are  fixed  to 
this,  and  to  the  top  horizontal  rail  (Fig.  8).  For 
the  north  side  we  require  six  rafters,  one  for 
each  end,  one  on  each  side  of  the  space  to  be 
left  for  the  roof  sashes,  and  one  to  be  placed 
midway  between  each  of  these  pairs.  For  the 
other  side  of  the  roof  thirteen  rafters  are 
required  ;  these  are  to  be  placed  16J  inches  apart 
from  centre  to  centre. 

Covering  Feamewoek. — The  framing  being 
all  put  together,  we  proceed  to  cover  the  whole 
with  J-inch  matchboarding,  except  the  roof  and 
the  openings  (g,  g,  Fig.  5 ;  and  l,  k,  e,  l, 
Fig,  6).     The  first  of  the  openings  being  for  the 


290 


AMATEUR'S  PHOTOGRAPHIC  STUDIO. 


door,  and  the  other  for  the  front  sashes,  we  will 
leave  them  at  present.  When  the  matchboarding 
is  put  on,  it  will  be  found  that  it  is  just  flush 
with  the  corner  posts. 

Material  for  Eoof. — The  roof  is  to  be  made 
of  Willesden  4-ply  paper.  This  material  might 
well  be  called  "the  amateur's  friend,"  for  it 
is  not  only  much  more  durable  than  wood,  but 
it  is  also  cheap,  easily  fixed,  and  clean  to  work 
with,  unlike  slates, 
tiles,  and  other 
materials,  which 
are  a  great  trouble 
to  the  amateur. 

Fixing.— Willes- 
den roofing  is  made 
in  rolls  54  inches 
and  19  inches 
wide  ;  the  latter  is 
the  width  we  re- 
quire in  the  present 
case,  as  the  rafters 
have  been  spaced 
out  16J  inches 
from  centre  to  cen- 
tre, so  that  the 
edge  of  one  sheet, 
laid  vertically  from 
eaves  to  ridge,  will 
overlap  the  edge  of 
the  adjoining  sheet 
3  inches  at  every 
joint,  and  there  be 
fixed  with  outside 
battens  on  every 
rafter.  The  bat- 
tens are  2|  inches 
by  1  inch  (except 
those  at  the  gables, 
b,  Fig.  1 1  ;  and 
those  at  the  junc- 
tion of  the  roof  sashes  with  the  roof,  b, 
Fig.  11,  which  are  6  inches  by  1  inch),  and 
are  fixed  by  3-inch  nails  nailed  through  bat- 
ten and  roofing  to  the  rafter  beneath.  The 
battens  should  have  three  coats  of  oil-paint 
before  fixing,  and  should  be  of  good  seasoned 
stuff,  free  from  sap  or  large  knots.  Each  sheet 
of  roofing  should  be  cut  long  enough  to  extend 


FIG.  I. — VIEW  OF  STUDIO  COMPLETE. 


f- 

..  5;'-„^?jw-_-57'- 

-~J7jh---27J- 

-Mjij. — sr  .. 

M 

~r~ 

o 

[> 

[>         ■< 

0. 

3 

u 

n 

-i_ 

2V 

"rS* 

■„, 

-■»-■ 

0 

\i 

'•5? 

o 

-i_. 

'CM 

FIG.    2.— PLAN    OF    GROUND    FRAME,    SHOWING   SIZES   OF   MORTISES. 


from  eaves  to  ridge,  allowing  sufficient  length 
not  only  to  permit  of  an  overlap  at  the  ridge, 
but  also  for  turning  under  the  eaves  board  (see 
Fig.  8).  To  render  the  roofing  more  pliable, 
where  a  sharp  bend  is  required,  as  at  the 
eaves  or  ridge,  both  ends  of  the  sheet — say 
16  inches  up — may  be  placed  in  water  for 
fifteen  or  twenty  minutes,  but  in  no  case  should 
the    entire   sheet    be     plunged   in    water.     In 

case  of  accidental 
damage,  the  frac- 
ture may  be  re- 
paired by  simply 
sticking  a  piece 
of  one-ply  paper 
on  each  side,  with 
a  waterproof  solu- 
tion composed  of 
white  lead  and 
best  gold  size. 

D  o  o  r.— T  h  e 
door  is  made  by 
framing  together 
two  pieces  of  3-in. 
by  | -inch  material, 
6  feet  9^-  inches 
long,  and  two 
pieces  2  feet  3  in. 
long,  with  a  third 
piece  of  the  same 
length  fixed  half- 
way up,  and  by 
covering  the  out- 
side with  ^-ineh 
m  a  t  c  h  b  oarding, 
and  the  inside  with 
the  same  material 
as  is  used  for  the 
inside  of  the 
studio.  The  door 
should  be  made 
to  open  to  the  inside. 

Sashes  :  Front. — The  sashes  come  next;  two 
are  required  for  the  roof,  and  two  for  the  front. 
Those  for  the  front  are  each  5  feet  wide  and 
about  4  feet  high.  The  stiles  and  lintels  are  of 
2-^-inch  by  2-inch  scantling ;  the  soles  3£  inches 
by  2  inches  ;  and  the  sash-bare,  of  which  there 
are  three,  are   1    inch  by  2    inches.     They  are 


AMATEUR'S  PHOTOGRAPHIC  STUDIO. 


291 


FIG.    3. — PLAN     OP    TRENCH     FOR     FOUNDATION.       FIG.     4. — ELEVATION     OF     END     FRAMEWORK.      FIG.    5.— ELEVATION     OF 
BACK  FRAMEWORK.       FIG.    6. — ELEVATION    OF     FRONT     FRAMEWORK.       FIG.    7. —SECTION   OF  RIDGE.      A,    RUNNER    FOR 

screen;  b,  ridgeboard  ;  c,  ridge,     fig.  8. — section  at  eaves,     a,  runner  for  screen,    fig.  9. — section  of 

RIDGE  AND  ROOF  SASHES.  PIG.  IO. — PART  OF  ROOF  FRAMEWORK.  A,  PIECE  OF  WOOD  ON  WHICH  SASHES  REST. 
FIG.  II. —VIEW  OF  PART  OF  ROOF,  SHOWING  ROOFING  AND  SASHES  IN  POSITION.  FIG.  12. — SECTION  OF  RUNNER 
FOR   SCREEN. 


292 


AMATEURXS  PHOTOGRAPHIC  STUDIO. 


fixed  in  their  places  by  a  1-inch  moulding  on 
either  side,  and  the  place  where  the  two  sashes 
meet  should  be  covered  by  a  2-inch  moulding. 

Roof. — The  stiles  and  lintels  of  the  roof  sashes 
are  4  inches  by  2  inches,  the  soles  6  inches  by 
2  inches,  and  the  sash-bars  1  inch  by  2  inches. 
The  lintels  must  be  bevelled  so  that  they  can  be 
brought  close  up  to  the  ridge-board  (c,  Fig.  9). 
The  top  horizontal  rail  at  the  front  of  the 
building  should  also  be  bevelled  to  allow  the 
sashes  to  lie  flat  on  it,  and  to  be  level  with  the 
roofing.  The  method  of  fixing  these  sashes  is 
shown  in  Fig.  10,  a  being  a  piece  of  wood,  1  inch 
square,  fixed  to  the  rafters,  on  which  they  rest. 
The  sashes  ought  to  reach  from  the  ridge-board 
to  the  bend  in  the  roofing  exactly.  After  they 
have  been  firmly  fixed  in  their  places,  and  the 
pieces  (b  and  c,  Fig.  11)  fixed  over  the  junc- 
tions, the  ridge  (c,  Fig.  7)  should  be  put  on. 

Glazing. — All  the  sashes  should  now  be 
glazed  (after  being  primed,  of  course),  those  on 
the  roof  with  21-oz.  glass,  and  those  at  the 
front  with  15-oz.  glass.  Where  any  overlaps 
are  necessary,  they  ought  not  to  be  more  than 
§  inch,  as  the  dirt  soon  gathers  in  them. 

Painting. — The  whole  must  now  receive  three 
coats  of  oil  paint.  The  back,  ends,  and  front 
should  be  painted  stone  colour ;  the  roofing 
slate  colour,  the  battens  and  ridge  lead  colour, 
and  the  sashes  white. 

Interior  :  Floor. — Having  now  finished  the 
outside,  we  go  inside,  where  the  first  thing  that 
demands  attention  is  the  floor.  Four  6-ineh  by 
2-inch  battens  are  laid  along  the  length  of  the 
studio  at  equal  distances,  and  firmly  fixed  at 
each  end  ;  across  these  1-inch  flooring  is  nailed. 

Walls. — The  walls  and  roof  must  next  be 
considered.  Matchboarding  is  not  very  satis- 
factory ;  it  has  a  cold  look  about  it.  Canvas  and 
paper  may  be  used,  but  is  rather  troublesome  ; 
here  again,  however,  the  Willesden  Company 
comes  to  our  assistance  with  its  two-ply  paper. 
This  paper  is  made  in  various  colours,  and  is 
also  capable  of  being  coloured.  Among  the 
colours  is  a  very  pleasing  neutral  green,  which 
will  suit  our  purpose  splendidly.  The  Willesden 
two-ply  papers  are  rot-proof,    water-proof,  in- 


sect-proof, inodorous,  and  warm,  and  are  the 
most  perfect  articles  for  the  purpose  yet  before 
the  public.  They  should  be  nailed  to  the  frame- 
work with  f-inch  or  1-inch  galvanized  tacks. 

Shading  Screens  :  Runners. — We  must  now 
get  ready  and  put  up  the  screens  for  shading 
the  windows,  when  necessary  for  effect.  The 
runners  for  these  screens  are  made  from  2-inch 
by  1^-inch  scantling;  they  are  grooved  as 
shown  in  Fig.  12,  and  should  run  the  whole 
length  of  the  studio.  They  are  nailed  to  the 
rafters  above  the  lining,  the  top  one  close  to  the 
ridge-board  (as  at  a,  Fig.  7),  and  the  bottom 
one  close  to  the  top  horizontal  rail  (as  at  a, 
Fig.  8).  These  runners  are  for  the  screens  for 
the  roof-sashes.  If  the  lower  runner  for  the 
roof  screens  be  shaped  as  at  a,  Fig.  8,  it  may 
also  be  used  for  the  top  runner  of  the  front 
screens  ;  the  other  runner  for  these  screens  must 
be  fixed  to  the  uprights  above  the  lining  4  feet 
6  inches  down. 

Frames. — The  frames  of  the  screens  are  made 
of  J-inch  wood  \\  inches  broad,  firmly  joined  at 
the  corners.  Four  frames  are  required  for  the 
roof,  each  30  inches  wide  and  about  11  feet 
long.  (The  exact  length  may  be  easily  deter- 
mined by  measuring  from  the  inside  of  a  groove 
in  one  runner  to  the  inside  of  the  corresponding 
groove  in  the  other  runner.)  Another  piece  of 
wood  the  same  size  might  be  fixed  across  the 
frame,  midway  between  top  and  bottom,  to  add 
strength.  For  the  front,  four  frames  are  also 
required,  each  30  inches  wide  and  4  feet 
6  inches  long.  When  these  frames  are  made, 
they  should  be  covered  with  Willesden  canvas, 
and  put  in  their  places,  one  frame  being  put  in 
each  groove,  so  that  they  may  be  moved 
independently  of  each  other. 

My  task  is  now  finished.  I  have  described  a 
comfortable  and  perfectly  waterproof  place  in 
which  to  work. 

It  is  scarcely  necessary  to  mention  that  in- 
tending studio  builders  may  modify  the  plans 
given  here,  if  they  are  not  exactly  fitted  to 
their  requirements  ;  but  careful  perusal  of  the 
instructions  will  enable  anyone  whose  circum- 
stances demand  the  modification,  to  get  out  plans 
of  their  own  with  little  difficulty. 


AMATEUR'S  PHOTO  GRAPHIC  STUDIO, 


293 


LIST  OF  WOOD  REQUIRED. 

PIECES. 

LENGTH. 

WIDTH. 

THICK. 

SHOWN  AT 

FOR 

.     PRICE. 

ft. 

in. 

in. 

in. 

£ 

s.    d. 

o 

16 

3 

7 

3 

Ground  frame        

0 

8    0 

2 

12 

3 

7 

3 

Ground  frame 

0 

6    0 

2 

(> 

3 

4 

4 

b  c,  -Figs.  4  and  6 

Corner  posts 

0 

2    6 

2 

10 

6 

4 

4 

d  e,  Figs.  4  and  5 

Corner  posts 

0 

4    0 

5 

10 

6 

34 

2J 

F  G,  Figs.  4  and  5 

Uprights 

0 

5    6 

2 

15 

0 

3* 

2* 

h  k,  Fig.  4      

Uprights 

0 

3    0 

2 

6 

0 

3J 

2i 

l  m,  Yig.  6      

Uprights 

0 

1    3 

3 

16 

0 

H 

24 

d  D  and  N  n,  Fig.  5,  and  b  b,  Fig.  6 

Horizontal  rails 

0 

5    0 

4 

12 

0 

3* 

2* 

B  0  and  p  p,  Fi».  4     ... 

Horizontal  rails 

0 

5    0 

o 

8 

0 

3| 

24 

d  f,  Fig.  4 

Horizontal  rails 

0 

1     8 

1 

10 

5 

3* 

24 

R  K,  Fig.  6      

Horizontal  rail 

0 

1     0 

2 

3 

0 

3* 

24 

r  s,  Fig.  6      

Horizontal  rails 

0 

0    8 

1 

9 

0 

4 

24 

t  t,  Fig.  5       

Horizontal  rail 

0 

0  11 

1 

4 

6 

4 

24 

d  u,  Fig.  5      

Horizontal  rail 

0 

0    5i 

2 

6 

10 

3 

i 

Door 

0 

0    5 

3 

o 

3 

3. 

s 

^ 

Door            ...         

0 

0  24 

1 

16 

0 

7 

24 

B,  Figs.  7  and  9          

Ridge-board           

0 

3    0 

6 

12 

0 

^2 

24 

Figs.  7  and  8... 

Rafters        ...         

0 

7    6 

13 

6 

0 

H 

24 

Figs.  7  and  S  ... 

Rafters 

0 

8    0 

500  s 

q.ft. 

7 

4 

Outside   covering   for    framework 
(rnatchboarding) 

2 

0    0 

11 

6 

3 

24 

1 

Figs.  7,  8,  and  11       

Covering  overlap  of  roofing 

0 

1  10 

2 

12 

3 

2* 

1 

a,  Fig.  11         

Covering  overlap  of  roofing 

0 

0    8 

5 

12 

3 

6 

1 

b,  Fig.  11        

Covering  overlap  of  roofing 

0 

3    0 

2 

"6 

3 

6 

1 

Covering  overlap  of  roofing 

0 

0    7 

4 

12 

0 

1 

1 

a,  Figs.  9  aDd  10       

Sash  rests    ... 

0 

1     0 

2 

5 

0 

4 

2 

Roof  sashes... 

0 

0  10 

2 

5 

0 

6 

2 

Roof  sashes... 

0 

1     3 

4 

12 

0 

4 

2 

Roof  sashes... 

0 

4    0 

6 

12 

0 

1 

1 

Roof  sashes... 

0 

1     6 

o 

5 

0 

%k 

2 

Front  sashes 

0 

0    8 

i 

5 

0 

34 

2 

Front  sashes           

0 

0  10 

4 

4 

0 

24 

2 

Front  sashes 

0 

1     2 

6 

4 

0 

1 

1 

Front  sashes 

0 

0     6 

1 

16 

0 

4 

4 

c,  Fig.  7          

Ridge           

0 

3    0 

4 

16 

0 

6 

0 

Floor            

0 

8    0 

200  sq.ft. 

5 

1 

Flooring 

1 

0    0 

64 

0 

2 

14 

A,  Figs.  7  and  8,  and  Fig.  12 

Screen  runners 

0 

2    6 

8 

12 

0 

14 

i 

Screens  (roof) 

0 

1     4 

20 

2 

6 

H 

£ 

Screens 

0 

0    8 

8 

4 

6 

n_ 

£ 

Screens  (front) 

0 

0    6 

£7 

17  11 

N.B. — The  prices  given  here  are  the  maximum;  in  some  places  the  wood  will  only  cost  about  £5.     The  sizes  given  are 
those  which  should  be  asked  for  when  buying  the  wood.     The  exact  sizes  must  be  taken  from  the  drawings. 

LIST   OF  WILLESDEN  SPECIALITIES   REQUIRED. 


NAME. 

PLY. 

NO. 

WIDTH. 

LENGTH. 

FOR 

PRICE. 

Willesden  Paper 
Willesden  Paper 
Willesden  Canvas 

4 

2 

B.  1.80     ... 
N.G.  2     ... 
D.D..X.  'J... 

in. 
19 
54 
53 

vds. 
72 
50 
12 

Roof 

Interior  lining 
Screens 

£    s.  d. 

2  14    0 

3  6     8 
1    0    0 

£7    0    8 

The  above  materials  can  be  obtained  from  the 
Willeaden  Paper  and  Canvas  Works,  Willesden 
Junction,  London,  N.W. ;  or  from  the  depots — 


72,  Watling  Street,  London,  E.C.,  and  52,  South 
Castle  Street,  Liverpool. 

If  the  amateur  objects  to  so  much  expense,  he 
vol.  in.  (n.s.) — A  A 


294 


HOW  TO  MAKE  A   MODEL    ELECTRIC   CRANE. 


may  use  the  one-ply  Willesden  paper,  N.G.2, 
56  inches  wide,  at  8d.  per  yard,  for  interior 
lining,  thus  lessening  the  amount  by  £1  13s.  4d. 
This  paper,  although  not  quite  so  stout  as  the 
two-ply  paper,  may  be  used  with  advantage. 

TABLE  SHOWING  TOTAL   COST. 

£   s.  d. 

Wood         7  17  11 

Willesden  Paper,  etc 7     0  8 

About  104  square  feet  21-ounce  glass,  21a. ;  about 

35  square  feet  15-ounce  glass,  5s 1     6  0 

Paint,  not  more  than        0  10  0 

Nails  and  sundries            ...  0     2  5 

£16  17    0 


If  1-pl.y  paper  be  used  instead  of  2-ply,   for 

inside,  the  cost  will  be  ...         ...         ...£15     3     8 

If  no  lining  be  used  at-  all,  the  cost  will  be       ....£1.3  10     4 


HOW  TO    MAKE    A    MODEL 
ELECTRIC    CRANE. 

By  ROBERT  W.  COLE. 


I. — Making  the  Truck,  Platform,  and  Crane  Arm. 

F  all  the  things  which  form  suitable 
objects  for  toys,  the  electric  crane  is, 
perhaps,  the  most  interesting.  If 
the  reader  will  carefully  and  patiently  follow 
me  through  my  description,  he  will  obtain  not 
only  what  may  be  called  a  toy,  but  a  substantial 
working  model.  It  will  not  be  my  idea  to  describe 
in  this  paper  all  the  details  of  the  machinery 
which  causes  the  crane  to  turn  round  about  its 
centre,  and  to  run  along  rails,  but  I  shall  merely 
describe  the  truck  which  carries  the  crane,  and 
the  apparatus  for  lifting  the  load  ;  at  the  same 
time,  however,  making  suggestions  by  the  aid 
of  which  the  reader  can,  if  he  wishes,  supply  the 
additional  mechanism  which  causes  the  crane  to 
turn  round  and,  also,  to  run  upon  rails. 

A  side  view  of  the  crane  in  its  finished  con- 
dition is  represented  in  Fig.  1 .  The  base  of  the 
toy  is  a  kind  of  truck,  a,  which  is  supported  on 
two  pairs  of  flanged  wheels  b  b,  c  is  the  platform 
on  which  are  placed  the  electro  motor  o,  and  the 
arm,  f,  of  the  crane,  d  is  a  socket  into  which  the 
arm  f  fits,  and  h  is  a  small  weight,  to  the  lower 
end  of  which  is  fixed  a  hook,  and  to  the  upper 
end  of  which  is  fixed  a  cord  which  passes  over 


the  pulley  wheel,  e,  to  the  motor.  The  whole 
platform,  c,  is  made  to  rotate  about  its  centre, 
carrying  with  it  in  its  rotation  the  arm  of  the 
crane  and  the  electro  motor. 

The  first  parts  of  the  crane  which  we  will 
construct  are  the  two  pairs  of  wheels,  b  b.  Turn 
four  flanged  wheels  two  inches  in  diameter,  \ 
inch  thick,  and  fit  them  with  axles,  as  described 
in  the  article  on  the  electric  tramcar,  making 
the  ends  of  the  axles  project  through  the  centres 
of  the  wheels  for  about  J  inch,  and  make  the 
axles  of  such  a  length  that,  when  the  wheels  are 
screwed  on  to  them,  the  distance  between  them 
is  equal  to  4|  inches. 

These  wheels  you  can  get  ready  turned  at  any 
shop  where  model  engines  are  sold,  or  you  can 
get  the  castings  and  turn  them  yourself.  If  you 
do  not  wish  the  toy  to  be  very  elaborately  con- 
structed, or  have  not  the  necessary  tools,  the 
wheels  and  their  axes  may  be  made  of  boxwood 
or  any  other  hard  wood.  Next,  procure  two 
strips  of  wood  3  inches  wide,  £  inch  thick,  and 
1  foot  long,  and  two  lesser  strips  of  the  same 
length  and  thickness,  but  only  6  inches  long  ; 
dovetail  them  together,  so  that  they  will  form 
the  sides  of  a  box,  and  make  the  two  longer 
strips  overlap  the  two  shorter  ones.  Before 
fitting  these  strips  of  wood  together,  you  should 
drill  holes  £  inch  in  diameter  1  inch  from  the 
lower  edge  of  each  of  the  two  longer  strips,  3 
inches  from  each  end,  and  screw  brass  bearings 
over  them  exactly  as  previously  described  in  the 
case  of  the  electric  tramcar.  Fit  the  two  pairs 
of  flanged  wheels  into  these  bearings,  taking 
care  that  the  axle  of  each  pair  of  wheels  is  at 
right  angles  to  the  length  of  the  truck.  Then 
fasten  a  piece  of  wood,  J  inch  thick,  on  to  the 
top  of  the  truck,  and  allow  about  J  inch  of  it  to 
project  over  each  side  of  the  truck  ;  neatly  bevel 
off  its  edges,  and  drill  a  hole  exactly  1  inch  in 
diameter  in  its  centre. 

Now  turn  a  piece  of  boxwood  3  inches  in 
diameter  and  \  inch  thick,  sandpaper  both  its 
sides,  in  order  that  they  may  be  made  as  smooth 
as  possible,  and  drill  through  its  centre  a  hole 
1  inch  in  diameter.  Procure  a  piece  of  brass 
tube  1  inch  in  diameter,  or  slightly  larger,  and 
3  inches  long,  and  fit  one  end  of  it  into  the 
piece  of  wood  which  you  have  just  turned,  and 


BOW  TO  MAKE  A   MODEL   ELECTRIC   CRANE. 


295 


secure  it  as  firmly  as  possible.  Fig.  2  represents 
the  brass  tube  fitted  into  its  place,  a  a  being  a 
portion  of  tbe  top  of  the  truck,  and  c  d  being  the 


the  round  piece  of  wood.  The  truck  of  the  crane 
is  now  finished,  with  the  exception  of  a  few 
details  which  will  be  described  presently. 


FIC.6. 

*  o 

DESCRIPTION    OF   FIGURES. 

FIG.  I. — SIDE  VIEW  OF  CRANE  ;  A,  TRUCK  OF  CRANE  ;  B  B, 
FLANGED  WHEELS  ;  C,  PLATFORM  OF  CRANE  ;  D,  SOCKET 
INTO  WHICH  THE  ARM  OF  THE  CRANE  FITS  ;  E,  PULLEY 
WHEEL  OVER  WHICH  THE  CORD  PASSES  ;  G,  ELECTRO 
MOTOR  I  H,  HOOK  AND  BALL  AT  THE  END  OF  THE 
CRANE  ;  K,  CIRCULAR  PIECE  OF  WOOD  PLACED  BETWEEN 
THE  PLATFORM  AND  TOP  OF  THE  TRUCK. 

FIG.  2.— SHOWING  TOP  OF  TRUCK  AND  BRASS  TUBE  FITTED 
INTO    IT. 

FIG.  3. — SHOWING  PLATFORM  OF  CRANE  AND  WOODEN 
CYLINDER   PASSING  THROUGH   ITS  CENTRE. 

FIG.  4. — ARM  OF  THE    CRANE. 

FIG.  5. — SOCKET   INTO  WHICH  THE  ARM   FITS. 

FIG.  6. — SHOWING  GROUND  PLAN  OF  PLATFORM  WITH  MOTOR. 
AND   SOCKET   FITTED    INTO    IT. 


brass  tube.  Then  drill  and  countersink  four 
holes  in  the  circular  piece  of  wood,  and  screw  it 
on  to  the  top  of  the  truck  so  that  the  brass  tube 
passes  inside  the  truck,  and  take  care  that  none 
of  the  screw  heads  project  above  the  surface  of 


We  will  now  turn  our  attention  to  the 
revolving  platform,  which  fits  on  to  the  top  of 
the  truck,  and  which  carries  the  motor  and  the 
arm  of  the  crane.  This  should  be  made  of 
material  J  inch  thick,   and  must  be  12  inches 


296 


HOW   TO  MAKE  A   MODEL  ELECTRIC   CRANE. 


long  and  7  inches  wide.  Drill  a  hole  through 
its  centre,  a  little  less  than  1  inch  diameter.  Then 
turn  a  cylinder  of  wood  3  inches  long,  and  of 
such  a  diameter  that  it  will  fit  neatly  into  the 
brass  tube  which  you  have  fitted  on  to  the  top 
of  the  truck,  and  carefully  sandpaper  it  so  that 
it  will  be  able  to  revolve  inside  the  tube  with 
very  little  friction.  Drill  a  small  hole  down  the 
centre  of  this  wooden  cylinder,  and  glue  it 
firmly  into  the  hole  which  you  have  already 
made  in  the  centre  of  the  platform,  and  make 
one  of  its  ends  exactly  level  with  the  top  of  the 
platform.  The  platform  with  the  wooden 
cylinder  fitted  into  it  is  represented  by  Fig.  3, 
where  a  a  is  a  portion  of  the  platform,  and  b  b 
is  the  wooden  cylinder  with  a  small  hole  running 
down  its  centre. 

When  you  have  completed  the  platform,  place 
it  upon  the  top  of  the  truck,  and  allow  the 
cylinder  of  wood  (b  b)  Fig.  3,  to  fit  into  the  brass 
tube  which  you  have  fixed  on  to  the  top  of  the 
truck  of  the  crane,  and  you  will  find,  if  you 
have  made  the  cylinder  accurately  as  described, 
that  the  platform  can  be  easily  turned  round, 
and  will  hardly  shake  at  all. 

Having  satisfied  yourself  on  this  point, 
remove  the  platform  from  the  top  of  the  truck, 
and  proceed  to  make  the  arm  of  the  crane.  This 
is  represented  by  Fig.  4  ;  it  is  about  14  inches 
long;  and  \\  inches  in  diameter  at  its  widest 
point.  It  is  wider  in  the  middle,  and  tapers 
towards  both  ends  ;  at  the  end,  b,  it  tapers  down 
to  one  inch,  and  for  an  inch  in  length  from  the 
end  is  turned  \  inch  diameter.  At  the  end  a 
it  tapers  down  to  £  inch  in  diameter,  and  has  a 
slit  cut  in  it  1  inch  in  length,  and  \  inch 
wide.  A  pulley  wheel,  over  which  the  cord 
from  the  electro  motor  passes,  is  fitted  into  the 
slit  at  the  end  a,  and  the  end  b  is  fitted  into  a 
socket,  which  we  will  make  presently,  and  which 
is  screwed  on  to  the  top  of  the  platform.  The 
pulley  wheel  should  be  1  inch  in  diameter, 
and  slightly  less  than  \  inch  thick,  and  should 
have  a  hole  \  inch  in  diameter  drilled  through 
its  centre.  Procure  a  piece  of  brass  tube  \  inch 
in  diameter,  and  as  long  as  the  pulley  wheel 
is  thick,  and  hammer  it  into  the  hole  which  you 
have  drilled  through  the  centre  of  the  pulley 
wheel.     Chuck  the  pulley  wheel  on  a  lathe,  and 


carefully  turn  both  the  edges  of  the  brass  tube, 
so  that  they  are  level  with  the  sides  of  the 
pulley  wheel.  The  object  of  this  brass  tube  is  to 
make  the  pulley  wheel  revolve  freely  and  truly 
on  its  bearings,  and  to  prevent  its  centre  wearing 
away,  as  it  would  do  if  it  were  made  of  wood. 
The  pulley  wheel  must  now  be  fixed  in  its  place 
at  the  end  of  the  arm  of  the  crane.  Procure  a 
brass  or  steel  pin  which  will  fit  exactly  inside 
the  brass  tube  which  you  have  fixed  in  the 
centre  of  the  pulley  wheel ;  drill  a  hole  right 
through  the  two  slits  which  you  have  cut  at  one 
end  of  the  arm  of  the  crane ;  place  the  pulley 
wheel  in  its  position  in  the  slit,  and  pass  the  pin 
right  through  the  two  ends  of  the  slit  and  the 
pulley  wheel,  and  then  with  a  hammer  slightly 
rivet  the  two  ends  of  the  pin,  so  that  it  will 
noj;  be  able  to  move  from  its  place. 

We  must  now  make  the  socket,  into  which  one 
end  of  the  arm  of  the  crane  is  intended  to  fit. 
This  is  represented  in  Fig.  5,  and  should  be 
3  inches  in  diameter  at  its  widest  part,  and 
\\  inches  thick,  and  would  be  best  if  made  out 
of  boxwood,  as  that  wood  is  less  liable  to  split 
than  others  are.  Sandpaper  and  polish,  and 
remove  from  the  lathe.  Then  drill  and  counter- 
sink holes,  as  represented  at  a  a,  Fig.  5,  and 
screw  it  down  to  your  work  bench  by  means  of 
two  screws  passed  through  these  holes.  Then 
procure  a  centrebit  1  inch  in  diameter,  fit  it  into 
your  brace,  and  holding  the  brace  at  an  angle 
of  45°  to  your  work  bench,  drill  a  hole  1  inch 
in  diameter  in  the  centre  of  the  socket,  and  make 
the  hole  so  deep  that  its  shallowest  part  is  level 
with  the  surface.  Now  take  the  1  inch  centre 
bit  from  your  brace,  replace  it  by  one  \  inch  in 
diameter,  and  still  holding  the  brace  at  an  angle 
of  45°,  drill  a  hole  1  inch  deep  in  the  centre  of 
the  hole  1  inch  in  diameter.  When  you  have 
done  this,  screw  the  socket  on  to  the  platform 
in  such  a  position  that  its  centre  is  3  inches  from 
the  centre  of  the  platform.  Fig.  6  represents 
the  platform  with  the  socket  fitted  into  its  place, 
the  centre  of  the  platform  being  denoted  by  a, 
and  the  socket  by  b.  Before  proceeding  any 
further,  see  if  the  end  of  the  arm  of  the  crane  fits 
into  the  socket.  H  the  end  of  the  arm  is  too 
large  to  fit  in,  it  may  easily  be  made  smaller  by 
slightly  filing  it  with  a  fine  file; 


SIMPLE    ORNAMENTAL    TURNING. 


297 


SOME  CHAPTERS  ON 
SIMPLE  ORNAMENTAL  TURNING. 


By  J.  L.  DWYER,  B.A. 


II.— Eccentric  Cutter— Shank— Body  of  Cutter- 
Disc. 

—HE  first  thing  which  claims  our  atten- 
tion, and  one  of  the  most  important 
implements  in  ornamental  turning,  is 


It  consists  essentially  of  three  parts :  1st,  the 
shank  for  holding  in  the  slide  rest,  which  also 
acts  as  an  axle  for  the  body  of  the  cutter  ;  2nd, 
the  revolving  body,  having  V  grooves  for  a  gut 
or  band  ;  and  3rd,  the  slide,  having  tool  holder, 
which  can  be  place  either  at  the  centre  of  the 
cutter,  or  any  desired  distance  from  it,  within 
the  limits  of  the  tool.  It  should  fulfil  the 
following   requirements,    which  it  is  necessary 


Casting 


jtfolding  down 
j>late 


IC8. 


FIG.  IE 


+_.  7\_ , 

.-  f  ■— 

* 

s-  . 

f 

J 

«~a  — > 

7" 
2 

'ptm        "r.'oo 

* 

— Kj  -- 

^  _ 

1 

i 

; 

t 

t 

+ 

FIC.  10. 


FIG.il. 


the  eccentric  cutter.  It  is  seen  in  the  general 
view  (Fig.  5)  to  be  held  by  a  shank  in  the  slide 
rest,  while  the  face  and  cutter  are  turned 
towards  the  wood  fastened  to  the  face  plate. 


for  all  good  machinery  to  do,  viz.,  that  it  should 
run  quite  truly  on  its  bearing  easily,  but  with- 
out any  shake,  and  that  provision  should  be 
made  for  taking  up  wear. 


398 


METAL-TURNING. 


My  cutter  is  different  from  some  others  I 
have  seen,  but  I  do  not  think  it  inferior  to  any, 
and  for  simplicity  and  ease  of  manufacture  I 
consider  it  superior. 

The  shank  is  a  bar  of  iron  or  steel  of  the 
dimensions  shown  at  Fig.  8.  It  could  be 
turned  easily  out  of  a  bar  of  mild  steel  1  inch 
in  diameter  and  6  inches  long. 

The  square  part  is  for  holding  in  the  slide 
rest,  then  comes  \  inch  round  for  a  disc,  then 
comes  a  shoulder  £  inch  thick  and  1  inch  in 
diameter,  then  a  cone  \\  inches  long,  and 
tapering  from  %  inch  to  \  inch. 

Kg.  9  is  a  section  of  the  relative  positions 
of  shank,  disc,  and  body,  without  dimensions,  or 
showing  the  slide  and  tool-holder. 

Now  comes  the  body  of  the  cutter,  for  which 
a  pattern  should  be  made  and  sent  to  the 
foundry.  The  pattern  consists  of  two  parts 
(Figs.  10  and  11),  which  fit  into  one  another,  as 
at  Fig.  12,  which  shows  also  what  the  casting 
will  be  like  when  it  comes  home  from  the  foundry. 
The  pattern  is  made  in  two  parts,  to  allow  the 
moulder  to  withdraw  it  from  the  sand  ;  as,  if  it 
were  solid,  as  Fig.  12,  the  shoulders  would  not 
come  out. 

Having  got  the  casting  of  cast  iron  or  gun- 
metal,  the  next  thing  is  to  turn  it.  I  fastened 
mine  to  the  face  plate  with  bolts  and  plates,  as 
seen  at  Fig.  13.  I  then  roughed  out  as  much 
as  I  could  get  at  of  the  casting,  and  bored  the 
conical  hole  and  also  the  recess  for  the  shoulder. 
The  hole  should,  of  course,  be  of  the  same 
taper  as  the  axle  already  turned,  and  the 
recess  should  be  &  inch  deep ;  but  the  hole 
should  be  of  such  a  size  that  the  axle  would  not 
go  in  quite  far  enough  to  leave  the  shoulder 
flush  with  face.  Fig.  9  shows  what  I  mean. 
The  shoulder  of  axle  does  not  go  quite  to  the 
bottom  of  the  recess,  and  a  disc  placed  against 
the  front  would  stand  -&  inch  from  the  face 
of  casting.  When  the  axle  fits  nicely,  the  cast- 
ing may  be  reversed,  and  the  recess  in  front 
turned  out,  and  the  entire  casting  roughed  off. 
It"  should  then  be  driven  tightly  on  its  own  axle, 
and  a  light  finishing  cut  taken  off  the  entire 
casting.  The  application  of  a  fine  file,  and 
various  degrees  of  emery  paper,  ought  to  finish 
it  as  bright  as  a  mirror. 


The  disc  may  next  be  turned  of  the  same 
material  as  the  body  of  the  cutter.  It  is  \  inch 
thick,  2  inches  in  diameter,  with  a  £  inch  hole, 
which  fits  over  the  square  part  of  the  axle,  and 
butts  against  the  shoulder. 

Three  holes,  \  inch  in  diameter,  are  bored 
through  this  disc,  equidistant,  and  \  inch  from 
the  centre ;  and,  placing  the  axle  and  disc  in 
position  on  the  body,  as  Fig.  9,  holes  are  bored 
in  the  body  small  enough  to  tap  \  inch,  and 
three  cheese-headed  screws  are  inserted,  which 
effectually  keep  body,  axle,  and  disc  together, 
but  would  lock  the  axle,  because  disc  is  not  flat 
against  it.  To  prevent  this,  liners  of  paper, 
having  holes  1  inch  diameter  punched  in  them, 
are  put  between  the  body  and  disc  until  the 
axle  runs  freely,  but  yet  without  any  shake. 
At  any  future  time,  if  the  axle  should  get  loose, 
all  that  is  necessary  is  to  take  off  disc,  remove 
one  or  more  liners,  and,  on  replacing  disc,  the 
bearing  will  probably  be  tight  enough,  gfe  inch 
of  liners  would  wear,  with  constant  use,  for 
twenty  years  ;  and,  with  the  use  most  amateurs 
would  give  it,  I  am  sure  it  would  last  a  century. 
Even  if  more  were  necessary,  a  little  could  easily 
be  turned  off  the  back  face  of  body,  which 
would  increase  its  life  for  another  century' 
or  so. 

If  the  body  and  disc  are  made  of  cast  iron, 
which  I  recommend,  it  would  be  necessary  to 
case-harden  the  bearing  part  of  axle,  which  can 
be  done  by  heating  to  a  bright  red,  inserting 
for  some  time  in  prussiate  of  potash,  then 
heating  again,  and  plunging  into  cold  water. 

This  finishes  the  spindle,  disc,  and  body.  We 
will  now  turn  our  attention  to  the  slide,  tool- 
holder,  and  screw. 


METAL-TURNING. 

By  A  FOREMAN  PATTERN  MAKER. 


II.— Texture  of  Metals— Tools. 
T  the  outset  the  amateur  metal  turner  is 
met  by  initial  difficulties  arising  from 
the  differences  in  the  materials  in 
which  he  attempts  to  work,  and  which  neces- 
sitate differences  in  the  tools  used  for  operating 
those  materials.     Much  of  the  art  of  turning, 


METAL-  TURNING. 


299 


therefore,  consists  in  knowing  how  to  manipu- 
late all  the  various  qualities  and  kinds  of  metals 
and  alloys  ;  and  this  involves  questions  of  the 
shapes  of  tools,  their  modes  of  presentation, 
and  cutting  speeds.  We  will  consider  these 
primary  matters  in  this  chapter. 

The  common  metals  and  alloys,  from  the 
turner's  point  of  view,  are  cast  iron,  wrought 
iron,  steel  (both  east  and  forged),  gun-metal, 
brass,  and  copper. 

The  iron  group,  which  includes  steel,  is  that 
whose  turning  offers  the  greatest  difficulty  to 
amateurs.  Brass  is  what  amateurs  delight  to 
cut  and  shape  ;  it  is  so  easy,  so  free  to  turn,  and 
back  gear  is  not  required ;  hence  the  large 
amount  of  model  work  done  in  brass.  Yet, 
except  that  iron  is  worked  less  freely  and 
rapidly,  it  need  not  be  less  easily  cut  than 
brass. 

Metal  is  commonly  termed  hard,  and  wood 
soft ;  but  hardness  is  a  relative,  not  an  abso- 
lute term.  From  the  turner's  point  of  view, 
most  metal  is  soft — only  chilled  and  artificially 
hardened  surfaces,  scale,  and  some  varieties  of 
iron  and  steel  being  termed  hard.  All  ordinary 
metals  and  alloys  are  considered  soft,  and  are 
shaped  with  properly  formed  tools  as  readily 
though  not  as  quickly,  as  wood ;  but  to  badly 
formed  tools,  metal  is  mostly  as  impenetrable  and 
unyielding  as  timber  is  to  a  blunt  chisel.  Also, 
there  is  nearly  as  great  a  difference  between 
extreme  qualities  of  the  same  kinds  of  metals 
and  alloys,  as  there  is  between  metals  and 
alloys  of  different  kinds. 

Metals  and  alloys  may  be  broadly  divided  into 
the  crystalline  and  brittle,  and  the  fibrous  and 
tough.  These  distinctions  will  broadly  corres- 
pond with  differences  in  the  formation  and 
mode  of  use  of  the  tools  used  in  shaping  them. 
In  the  first  case,  the  action  of  the  tools 
approximates  to  that  of  scraping ;  in  the  second 
case,  to  that  of  cutting.  At  the  extremes  we 
have  the  hardest  cast  brass  on  the  one  side,  cut 
with  scraping  tools  ;  and  the  mildest  wrought 
iron  on  the  other,  worked  with  true  cutting 
tools. 

As  I  treated  the  subject  of  tools  pretty  freely 
in  Amatettr  Wobk  some  years  ago  (see  Vol. 
VII.),  I  will  refer  my  readers  to  those  papers 


for  set  descriptions  of  the  various  kinds  employed 
in  metal  turning,  and  only  make  their  method 
of  use,  and  the  difficulties  that  arise  in  practice, 
the  subject  matter  of  my  present  remarks. 

Methods  of  use  differ  with  (1)  hand,  and  (2) 
with  slide-rest  tools  ;  and  difficulties  arise  from 
such  causes  as  (3)  malformation,  (4)  improper 
presentation,  (5)  bad  metal,  (6)  improper 
tempering. 

Hand-tools  depend  for  their  efficiency  more 
upon  the  manner  in  which  they  are  held  and 
presented,  than  on  the  way  in  which  they  are 
ground.  In  other  words,  the  maintenance  of 
certain  cutting  angles  is  not  so  important  in  the 
case  of  hand-tools  as  in  that  of  tools  held  in 
the  slide-rest.  The  reason  is  that  the  method 
of  presentation  of  hand-tools  is  capable  of 
much  variation,  which  is  not  the  case  with  tools 
clamped  rigidly  in  the  slide-rest.  So  much 
is  this  the  case,  that  the  graver  and  the  file- 
point  may  be  employed  to  cut  all  metals  and 
alloys,  by  simply  changing  the  method  of 
presentation. 

There  is  less  power  behind  the  tools  held  in 
the  hands  than  in  those  held  in  the  slide-rest ; 
therefore  hand-tools  are  made  to  cut  in  a  series 
of  short  sweeps  or  sections,  instead  of  in  a 
straight  line,  especially  during  the  process  of 
roughing  out  the  work.  A  hand-tool  is  not  held 
horizontally,  as  in  the  slide-rest,  but  diagonally  — 
the  handle  upwards  stiffly  grasped  in  the  right 
hand,  and  the  tool-shank  grasped  near  the 
cutting  point  in  the  left  hand,  and  held  firmly, 
yet  freely,  on  the  rest,  upon  which  it  is  rotated 
in  short  sweeps,  as  upon  a  pivot. 

Slide-rest  tools,  on  the  contrary,  must  always 
be  clamped  in  a  horizontal  plane,  with  their 
cutting  points  as  exactly  level  with  the  centre  of 
the  work  as  possible,  and  they  must  be  made  to 
travel  in  lines  parallel  with  the  axis  of  the 
work.  For  these,  therefore,  the  maintenance  of 
constant  grinding  angles  is  essential  (a  matter 
fully  discussed  in  the  articles  on  tools  in 
Vol.  VII.). 

But  it  will  very  soon  be  discovered  that  it  is 
not  judicious  to  keep  a  given  tool  ground  to 
constant  cutting  angles  for  cast  iron,  another 
for  wrought  iron,  another  for  steel,  and  so  on ; 
for  one  specimen  of  iron  may  be  50  per  cent. 


300 


METAL-TURNING. 


harder  than  another,  or  50  per  cent,  more 
brittle,  or  50  per  cent.  Jess  homogeneous ;  and 
these  differences  make  themselves  felt  very 
sensibly  in  the  lathe.  For  this  reason,  tools 
having  a  gradation  of  cutting  angles  should  be 
kept,  and  selected  from  when  desirable.  Espe- 
cially does  this  hold  good  in  slide- rest  turning, 
done  in  foot-lathes,  where  extra  stress  in  cutting 
is  quickly  detected  at  the  treadle. 

All  metal  is  harder  at  the  surface  than  it  is 
underneath;  and  for  this  reason  the  cutting 
points  of  the  roughing  tools  should  be  always 
presented  sideways,  or  slightly  diagonally  to  the 
line  of  cut,  in  order  to  operate  at  the  end  of  the 
depth  of  metal  which  is  being  removed,  and  so 
avoid,  as  far  as  possible,  direct  contact  with  the 
hard  outer  skin. 

Bad  metal  is  a  source  of  trouble  to  the  turner- 
All  metals,  and  nearly  all  alloys,  are  liable  not 
only  to  be  harsh  in  grain  at  times,  but  also  to  be 
not  homogeneous.  Cast  iron  may  have  cold  shots, 
and  wrought  iron  and  brass  be  pinny  ;  and  these 
try  the  points  of  the  tools.  When  harsh  and 
non-homogeneous  metal  is  being  turned,  there- 
fore, it  is  advisable  to  give  less  feed,  taking 
lighter  cuts,  and  using  tools  of  slightly  more 
obtuse  angles  than  usual. 

Tempering  is  a  delicate  matter,  and  because 
no  two  steels  are  exactly  alike,  different  treat- 
ment is  required.     Usually  a  purplish  or  plum 
colour  is  that  at  which  the  tool  is  quenched  for 
temper,   but   the  particular  shade  of  colour  is 
always  a  matter  to  be  tested  by  the  cutting  of 
the   tool.     Overheating   is  a  fruitful  source  of 
evil,  the  tool-point  crumbling  away  at  its  work. 
If  a  tool  loses  its  edge  rapidly  by  abrasion, 
the  fault  not  being  due  to    improper  temper,  it 
is  a  proof  that  it  has  too  much  bottom  rake,  and 
the  remedy  lies  in  making  the  angle  which  the 
bottom  face  makes  with  the  top  more  obtuse. 
A  quite  unnecessary  amount  of  clearance  angle 
is  often  given  to  the  bottom  faces  of  cutting 
tools.     If  the  bottom  face  of  a  tool  is  backed  off 
to  just  that  amount  that  will  prevent  frictional 
contact  between  it  and  the  revolving  work,  no 
more  clearance  is  really  necessary.     The  more 
metal  there  is  left  on  the  bottom  or  front  face, 
the  stronger  the  tool  will  be,  and  the  more  per- 
manent its  cutting  edge.     This  matter,  which  is 


of  vital  importance  in  turning  the  harder 
qualities  of  metal,  is  of  less  relative  importance 
in  the  turning  of  soft  metal. 

If  a  tool  operating  on  iron  does  not  remove 
sufficient  metal,  but  only  scrapes  and  scratches 
the  surface,  that  is  a  proof  that  there  is  not 
enough  of  top  rake,  and  the  remedy  is  to 
impart  a  greater  angle  to  the  top  face  of  the  tool, 
by  which  its  cutting — that  is,  its  penetrative — 
capacity  becomes  increased. 

If  when  turning  any  metal  the  tool  manifests  a 
tendency  to  dig  into  or  be  drawn  towards  the 
work,  that  is  a  proof  that  the  rest  is  not  rigid 
enough,  or  else  that  there  is  too  much  top  rake 
or  slope.  This  tendency  will  therefore  be  cor- 
rected by  looking  either  to  the  stability  of  the 
rest,  or  to  the  angle  of  the  top  face  of  the 
cutting  tool. 

When  turning  brass,  strise  are  readily  de- 
veloped, and  chattering  occurs  unless  the  tool  is 
held  rigidly,  and  allowed  to  cut  with  a  mere 
point,  if  a  roughing  tool,  and  cornerwise  if  a 
finishing  tool.  Except  at  the  final  cuts,  it  is  not 
well  to  allow  the  whole  breadth  of  a  finishing 
tool  to  operate. 

Improper  speeding,  or  want  of  lubrication, 
will  be  followed  by  similar  results  to  those 
caused  by  improper  formation  of  tools.  Running 
work  at  too  high  a  speed  saves  no  time,  but 
abrades  the  tool,  and  energy  goes  off  in  waste 
heat.  If  work  is  ran  rapidly,  the  lightest  feed 
should  be  employed  ;  if  ran  slowly,  deeper  feeds 
can  be  taken.  Eules  for  speeding  are  of  little 
value,  because  speed  is  governed  by  quality  of 
metal,  and  amount  of  feed.  As  a  very  broad 
approximation,  to  be  modified  by  circumstances, 
I  should  say  for  cast  iron,  12  to  18  feet  per 
minute ;  for  wrought  iron,  20  to  22  feet  per 
minute  ;  for  gun-metal  and  brass,  25  to  50  feet 
per  minute  ;  for  copper,  120  feet  per  minute. 

On  cast  iron,  east  steel,  gun-metal,  and  brass, 
no  lubripation  is  necessary.  On  wrought  iron 
and  forged  steel,  soapy  water  is  used,  and  is 
suffered  to  fall  drop  by  drop  from  a  drip-can. 

♦ 

A  good  Stove  Blacking  may  be  made  by 
taking  one  part  of  bone-black,  two  parts  of  sul- 
phate of  iron,  and  one  part  of  black-lead,  and 
mixing  with  water  to  the  consistency  of  cream. 


PHOTOGRAPHIC  PRINTING  PROCESSES. 


301 


PHOTOGRAPHIC    PRINTING 
PROCESSES, 

By     A     PRINTER. 

IV.— Silver  Printing  Processes— Negatives  ;  their 
Good  and  Bad  Qualities— Contact  Printing  on 
Albumenized  Silver  Paper— Useful  Hints— Trim- 
ming and  Washing  the  Prints— Toning  Solutions- 
Toning  with  the  Acetate  of  Soda  Bath— Treat- 
ment of  Prints  with  Common  Washing  Soda- 
Toning  to  a  Purple  Tone— Treatment  of  Prints 
with  Salt— Toning  to  a  Warm  Brown— Washing 
and  Fixing— Final  Washing  and  Drying. 

SHALL  now  treat,  in  as  few  words  as 
possible,  on  the  printing,  washing, 
toning,  and  fixing  of  albumenized 
prints.  This  process  is  tolerably  well  known, 
because  it  is  the  one  that  is  in  'general  use,  at 
least  up  to  the  present  date.  Latterly,  however, 
other  processes  are  becoming  strong  rivals  to 
the  old  silver  print,  and  which  are  at  once  both 
more  permanent  and  artistic. 

The  Negative.— I  am  not  going  to  enter  upon 
the  general  manipulation  of  negatives  in  the 
shape  of  retouching  and  the  "dodging  up"  of 
faulty  pictures.  I  need  only  say  here,  that  after  a 
negative  is  developed,  fixed,  washed,  and 
varnished,  it  by  no  means  foUows  that  it  is  fit 
to  print  from  ;  on  the  contrary,  more  often  than 
not,  the  average  amateur's  negatives  suffer  from 
some  defect  caused  principally  by  either  under 
or  over  exposure.  Tor  instance,  a  negative  may 
lack  detail  in  the  shadows  through  under 
exposure,  may  appear  flat  or  wanting  in  con- 
trast through  over  exposure.  Again,  an  under- 
exposed negative  may  show  up  the  detail  in  the 
distance  too  strongly,  making  it  appear  much 
nearer  than  it  really  is.  Then  there  are 
"dense"  and  "thin"  negatives,  all  of  which 
require  special  treatment  in  the  printing  opera- 
tions. All  these  defects  may  be  remedied  to  a 
certain  extent  by  the  retouching  process,  and  in 
the  case  of  thin  and  dense  negatives,  by  in- 
tensification and  reduction  respectively.  These 
remarks  are  directed  to  the  landscape  negatives, 
but  of  course  apply  also  to  portraits.  All  these 
operations  require  much  study  in  order  to 
become  a  successful  printer.  Before  commencing 
to  print,  however,  I  may  say  that  it  is  advisable 


whenever  possible  to  adapt  the  printing  process 
to  the  class  of  negative  it  is  desired  to  print  from ; 
thus,  with  a  thin  negative,  with  detail  showing 
rather  faint,  it  is  generally  allowed  that  the 
best  effect  will  be  obtained  by  making  the  prints 
on  bromide  paper.  These  prints,  having  to  be 
developed  before  the  image  appears,  instead  of 
being  "printed  out"  direct,  defects  in  the 
negative  can  very  often  be  remedied  by  careful 
and  judicious  development. 

Contact  Printing  on  Albumenized,  Silver  Paper. 
— The  most  suitable  negative  for  procuring 
good  prints  from  an  albumenized  paper 
is  one  which  is  tolerably  dense,  with  plenty  of 
detail  and  a  fair  amount  of  half  tone.  The 
negative  is  placed  in  the  frame  with  the  film 
side  towards  the  back,  the  paper  is  laid  face 
downwards  upon  the  glass,  and  the  frame  exposed 
to  daylight.  The  process  of  printing  now 
commences  ;  but  with  what  rapidity  this  takes 
place  depends,  first,  upon  the  density  of  the 
negative,  and,  second,  upon  the  amount  of 
actinic  light  which  is  present  at  the  time  of 
printing.  In  five  or  ten  minutes  the  printing 
frame  should  be  carried  into  a  shady  corner,  and 
one  side  of  it  opened,  to  see  how  the  printing 
progresses ;  and  now  comes  the  critical  point, 
viz.,  as  to  when  the  print  has  received  sufficient 
depth  ;  this  experience  alone  can  decide,  but  it 
must  be  printed  considerably  darker  than  it  is 
wished  the  finished  picture  to  be,  as  the 
succeeding  operations  of  toning  and  fixing  bleach 
the  print  to  a  great  extent.  Prof.  Burton 
advises  that  the  printing  should  be  nearly  twice 
as  long  as  that  required,  to  give  a  pleasing  tone 
in  the  finished  picture ;  but,  roughly  speaking, 
the  printing  should  be  continued  until  the 
whites  show  signs  of  a  slight  discolouration.  It 
is  generally  advisable  to  print  in  a  diffused 
light,  but  this  depends  a  great  deal  upon  the 
negative,  some  being  so  dense  that  they  require 
exposing  to  direct  sunlight  in  order  to  obtain  a 
decent  print.  Imperfections  in  the  negative  can 
be  remedied  to  a  certain  extent  by  a  little 
judicious  manipulation  in  the  printing  process. 
I  should  here  state  that  printing  in  direct  sun- 
light produces  a  soft  print,  and  that  printing 
in  a  soft  diffused  light,  results  in  a  plucky  bril- 
liant picture.     Therefore,  a  negative  with  strong 


302 


PHOTOGRAPHIC  PRINTING   PROCESSES. 


contrasts,  and  absence  of  half  tone,  even  if  it 
be  somewhat  thin,  may  be  printed  in  sunlight  or 
strong  diffused  light ;  but  a  thin  negative  will 
give  much  better  results  on  this  class  of  paper  if 
it  is  printed  in  a  weak,  soft  light.  The  way  to 
obtain  a  soft  diffused  light  for  weak  negatives 
is  to  paste  a  piece  of  tissue  paper  over  the  front 
of  the  printing  frame;  or  ground  yellow  or 
green  glass  may  be  used  for  this  purpose. 

There  are  one  or  two  little  "tips"  I  may 
mention  here.  1 .  Be  sure  to  have  some  sheets  of 
blotting  paper,  or  a  piece  of  felt,  between  the 
printing  paper  and  the  hinged  back,  to  ensure 
the  paper  being  in  absolute  contact  with  the 
glass.  This  is  very  necessary,  as  the  glass  used 
by  dry  plate  makers  has  very  often  a  curved 
surface ;  a  fact  not  generally  known.  This 
matter,  however,  has  to  be  borne  in  mind  when 
printing  from  large  sizes,  10x8  and  upwards  ; 
for  even  when  plate  glass  is  used  in  front  of 
the  negative,  it  (the  negative)  may  break — and 
often  does — if  too  much  pressure  is  applied. 
2.  "When  printing,  do  not  let  the  frame  lie 
in  the  same  position  the  whole  of  the  time,  but 
keep  turning  it  round,  a  side  or  end  at  each 
turn.  This  will  ensure  sharper  and  even 
printing,  because  the  light  is  certain  to  be 
stronger  in  one  quarter  than  in  others,  and  if 
not  diffused  artifically,  an  unequal  print  would 
be  the  result  if  the  frame  is  left  stationary  or 
in  one  position  throughout  the  printing.  3. 
Paper  freshly  sensitized  at  home  can  be  adapted 
to  some  extent  to  suit  the  negative  it  is  to  be 
printed  under ;  it  also  loses  more  depth  in 
turning  than  ready  sensitized  paper,  which  must 
therefore  be  considered  when  printing.  Ready 
prepared  paper  seldom  gives  such  good  results 
as  that  freshly  prepared  in  the  studio  ;  it  gives, 
as  a  rule,  chalky  or  harsh  black  and  white 
prints.  Having  finished  our  printing  operations, 
we  proceed  to  wash,  tone,  and  fix  our  prints. 

Trimming  and  Washing. — It  is  more  economical 
to  trim  the  prints  before  toning.  I  will  speak 
on  this  matter,  however,  later  on.  The  amount 
of  washing  which  the  prints  are  to  receive 
before  being  toned  depends  a  great  deal  on  the 
toning  bath  which  is  employed,  and  on  the  tone 
d  esired.  If  the  acetate  of  soda  bath  is  employed, 
and  a  purple  toned  print  desired,  then  the  prints 


must  receive  but  a  slight  washing;  if,  on  the  other 
hand,  a  rich  warm  brown  tone  is  desired,  then  the 
washing  must  be  very  thorough.  I  am  speaking 
now  of  the  ready  sensitized  papers,  and  it  is  to 
these  which  I  shall  principally  refer  during  the 
toning  operations,  unless  otherwise  stated.  As 
the  washing  and  the  toning,  therefore,  go  hand 
in  hand,  we  must  consider  them  together ;  so  I 
will  only  say  here  that  a  large,  clean  white 
porcelain  vessel  should  be  used  to  wash  the 
prints  in,  and  this  should  be  placed  under  a  tap 
which  is  placed  over  a  sink.  There  are  many 
forms  of  washing  apparatus  now  in  the  market, 
and  should  the  reader  care  to  invest  in  one  of 
these,  I  know  nothing  better  nor  cheaper  than 
Vevers'  ''Eapid"  washer,  at  7s.  6d.,  and  also 
Tylar's  "  Aquapoise  "  automatic  rocking  cradle- 
washer,  at  4s.  6d.,  for  the  half-plate  size.  The 
latter  is  entirely  automatic,  and  requires  no 
syphon  or  other  complications ;  in  fact,  it  will 
work  for  a  year  without  any  attention  whatever. 
Directly  the  vessel  is  fully  charged  with  water 
it  tips  up  of  its  own  accord,  and  every  drop  of 
water  is  at  once  discharged  ;  at  the  same  time,  the 
washer  immediately  rights  itself,  and  commences 
to  fill  again.  Tylar's  "  current  "  producer  is  a 
handy  little  piece  of  apparatus  for  attaching  to 
an  ordinary  pan  or  basin.  This  keeps  the 
water  in  constant  motion,  and  consequently  the 
prints  are  all  the  while  twirling  round  and 
round,  instead  of  remaining  in  a  heap  at  the 
bottom.     I  believe  its  price  is  about  8s.  6d. 

Toning. — I  would  strongly  advise  the  use  of 
the  acetate  of  soda  bath  for  toning  ;  it  is  used 
by  all  the  old-established  professional  firms  in 
preference  to  any  other,  although  younger  men, 
I  know,  go  in  for  some  latter-day  toning 
solutions.  The  acetate  bath  is,  however,  the 
easiest  to  work,  at  least  for  beginuers,  whilst 
at  the  same  time  it  allows  a  great  variety  of 
tone,  and  gives  fairly  permanent  results.  If  the 
pictures  are  printed  deep  enough,  the  latter 
remark  applies  with  equal  force  in  all  cases  ;  for 
no  matter  with  what  bath  the  prints  are  toned, 
if  they  are  not,  in  the  first  place,  sufficiently 
deep  in  tone  and  body,  that  is,  if  the  printing 
has  not  entered  far  enough  into  the  albumen 
surface,  they  will  very  quickly  fade. 

We  must  now  make  the  toning  solutions,  and 


PHOTOGRAPHIC  PRINTING   PROCESSES. 


303 


for  simplicity  I  shall  give  only  the  acetate  bath 
in  this  chapter.  Prepare  the  following  stock 
toning  solution — Chloride  of  gold  (Johnson's), 
15  grains;  acetate  of  soda,  1  ounce;  water 
(distilled),  15  ounces.  Place  the  15-grain  tube 
of  gold  in  a  clean  white  pint  bottle,  and  break 
the  tube  with  a  vulcanite  or  glass  stirring  rod ; 
next  add  the  acetate  of  soda,  and  finally  the 
water,  and  shake  well  until  all  is  dissolved. 
This  solution  is  not  fit  for  use  until  it  has  been 
kept  for  twenty-four  hours  ;  in  fact,  it  will  work 
better  when  it  has  been  made  some  three 
months,  than  when  only  a  few  days  old.  The 
operation  of  toning  consists  in  covering  the 
image  with  a  thin  film  of  gold,  in  order  to  get 
rid  of  the  unpleasant  brick-red  colour  which 
the  prints  assume  after  coming  from  the  first 
washing  water. 

I  will  first  give  the  method  of  toning  to  a 
deep  purple,  as  this  tone  is  the  one  the  most 
generally  liked,  and  at  once  the  most  serviceable 
as  regards  durability  of  the  image.  The  prints 
are  put  into  the  first  washing  water,  taking  care 
to  keep  them  well  apart ;  here  they  should  not 
remain  longer  than  about  four  minutes,  giving 
them  a  couple  of  turns  over  in  the  meantime. 
They  are  now  liftedjfrom  the  first  water,  and  put 
into  a  dish  containing  a  gallon  of  water  in 
which  l£  ounces  of  soda  have  been  dissolved. 
The  soda  should  be  placed  in  a  quart  jug,  which 
is  then  filled  with  boiling  water  ;  this  is  then 
poured  into  the  basin  when  the  soda  has 
dissolved,  and  the  rest  of  the  water  added  cold. 
The  prints  remain  in  the  bath  for  five  minutes, 
during  which  time  the  first  water  is  thrown 
away,  and  the  basin  filled  again  with  clean  water. 
At  the  end  of  the  five  minutes  the  prints  receive 
another  short  washing,  and  are  then  at  once  toned. 
The  toning  dish  should  be  of  a  good  size  and  of 
a  deep  pattern  (not  the  shallow) ;  white  porcelain 
is  the  best,  a  10x8  inch  dish  costing  about 
Is.  lOd.  The  toning  solution  is  prepared  as 
follows  :  (Working  toning  solution.) — For  every 
sheet  of  paper  to  be  toned,  take  stock  gold  solu- 
tion, 1  ounce;  add  water  up  to  12  ounces.  Pour 
the  solution  into  the  dish,  and  commencing  to 
tone,  taking  up  one  print  at  a  time,  and  laying 
it  face  down  in  the  solution  ;  nest  turn  it  face 
up,  rest  a  moment,  and  then  down  again ;  pick 


up  another  print,  and  repeat  the  operations.  It 
is  best  not  to  tone  more  than  some  half-dozen 
prints  at  one  time,  if  the  operator  is  a  novice. 
Keep  the  dish  constantly  agitated,  and  after  a 
couple  of  minutes  turn  the  prints  one  at  a  time, 
face  up  again,  and  it  will  then  be  noticed  how 
the  toning  is  proceeding ;  wait  a  while,  and 
again  reverse  the  prints,  keeping  the  dish 
moving,  to  prevent  the  prints  sticking  together  ; 
should  they  do  so,  they  will  be  unevenly  toned. 
The  toning,  it  will  be  noticed,  first  turns  to  a 
brown,  and  finally,  in  about  fifteen  minutes,  to 
a  purple  or  violet  tone.  Some  of  this  tone  will, 
however,  be  lost  in  the  fixing  bath,  and  therefore 
it  is  necessary  to  tone  a  little  deeper  than  it  is 
desired  the  finished  image  should  be. 

For  a  rich  warm  brown  colour  the  prints  are 
most  thoroughly  washed  in  several  changes  of 
water  until  not  the  slightest  trace  of  milkiness 
is  discovered  in  the  water.  The  prints  are  then 
laid  into  a  basin  of  clean  water  containing  two 
ounces  of  salt,  and  after  remaining  for  about 
five  minutes,  are  again  washed  in  several  changes 
of  water,  and  are  then  toned.  The  toning  in 
this  case  will  be  very  slow,  and  however  strong 
in  gold  the  bath  may  be,  will  not  go  beyond  a 
brown  tone  ;  hardly  any  colour  will  be  lost  in 
the  fixing  in  this  case,  so  this  need  not  be  looked 
or  allowed  for.  The  toning  operations  should 
always  be  done  in  feeble  daylight,  as  it  is  so 
difficult  to  judge  the  proper  tone  by  artificial 
light.  The  washing  operations  should  be  carried 
on  in  a  yellow  light  or  by  gaslight,  to  prevent 
the  whites  of  the  prints  from  discolouring. 
The  toning  finished,  the  prints  are  again  well 
washed  in  several  changes  of  water,  and  are 
then  placed  for  fifteen  minutes  in  the  fixing 
bath : — Hyposulphate  of  soda,  4  ounces  ;  boiling 
water,  40  ounces  ;  dissolve  ;  allow  to  cool  before 
use.  After  fixing,  the  prints  are  washed  for 
twenty-four  hours  in  constant  changes  of  water  ; 
upon  the  thoroughness  of  this  washing  depends 
the  permanency  of  the  finished  pictures.  The 
washing  completed,  the  prints  are  dried  between 
sheets  of  white  blotting  paper,  and  are  ready  for 
mounting.  Defects  in  prints  and  solutions,  toning 
formulae,  together  with  sundry  other  matters  of 
importance  to  the  amateur  photographer,  will  be 
treated  upon  in  the  next  chapter. 


304 


A   NEW  CONSTANT-LEVEL   LNKSTAND. 


A  NEW  CONSTANT-LEVEL  INK- 
STAND. 

By  W.  P.  M.  BLACK,  B.L. 


g^SVER  since  I  first  learned  to  -write,  I 
have  had  a  bad  habit  of  dipping  too 
3   deeply  into  my  inkbottle,  thus  covering 
the  end  of  my  penholder  and  smearing  my  fingers 
with  ink,  and  subsequently  wasting  many  pre- 
cious seconds    in   the   process  of  rubbing   pen 
and    ringers   clean   with   blotting  paper.     The 
effect  of    this    has  been   to    make  me,   when- 
ever   it    was    possible,    keep   the   ink    in    my 
inkbottle  very  shallow,  and  so  make  it  impos- 
sible  for  me,  even  in   my  most  absent-minded 
fit,   to   dip  my  pen   deeper  than  it  should  be 
dipped.     The  keeping  of  the  ink  shallow  has, 
however,  one  very  serious  drawback,  and  that  is 
that  in  a  very  short  time  the  supply  of  ink  gets 
so  low  that  the  pen  does  not  take  up  enough  to 
write  with,  and  so  one  has  to  be  so  constantly  re- 
filling his  inkbottle,  that  it  becomes  a  nuisance 
of  almost  as  great  a  magnitude  as  the  smearing 
of  the  fingers  with  ink.     This  fault  had  often 
made  me  long  that  someone  might  discover  a 
device  for  keeping  the  ink  in  the  stand  always 
at  one  constant  level.     Not  many  months  ago 
my  wish  was  gratified.     Turning  over  the  ad- 
vertising columns  of  a  magazine — the  most  in- 
teresting part  of  the  letter-press  in  my  opinion — 
I  came  across  an  advertisement  of  the  "  Isobath  " 
Constant-Level   Inkstand,   an   invention   which 
seemed  to  answer  all  my  requirements. 

With  that  "  contrariness,"  however,  which 
possesses  so  many  things  in  this  sublunary 
sphere,  I  had  no  sooner  hailed  this  new  invention 
with  delight,  than  another  plan  for  effecting  the 
same  end  started  up  in  my  mind.  Why  did  it 
not  come  when  I  was  in  search  of  such  a  thing, 
and  why  did  it  come  the  moment  its  discovery 
became  unnecessary  ?  We  will  not  waste  time 
in  attempting  to  discover  the  solution  of  these 
difficult  questions,  but  proceed  at  once  to  a 
description  of  the  device,  in  the  hope  that  it  may 
prove  useful  to  many  readers  of  Amateur  Work 
afflicted  with  a  similar  bad  habit  to  mine,  and 
also  to  others  who  wish  to  be  saved  the  trouble 
of  frequently  replenishing  their  inkbottles. 


Most  of  my  readers,  I  am  sure,  have  seen  the 
glass  vessel  which  is  very  generally  used  by  bird 
fanciers  for  attaching  to  cages  to  supply  the 
birds  inside  them  with  water  for  drinking.  It 
consists  of  a  pear-shaped  vessel  closed  entirely 
except  near  its  base,  whence  a  little  oblong 
trough,  communicating  with  the  interior,  pro- 
jects. The  little  trough  is  pushed  between  two 
of  the  wires  of  the  cage,  and  a  wire  loop  attached 
to  the  cage  some  distance  above  is  put  over  the 
glass  knob  which  terminates  the  narrow  end 
of  the  vessel,  and  thus  it  is  held  in  its  place. 
The  vessel  contains  about  a  teacupful  of  water, 
while  the  little  oblong  trough  contains  only 
about  a  teaspoonful.  As  the  water  is  used 
up  in  the  trough,  the  trough  is  constantly 
kept  replenished  from  the  main  vessel,  which, 
though  the  water  in  it  is  at  a  much  higher 
level  than  the  water  in  the  trough,  does  not 
run  out  into  the  trough,  and  so  overflow  it, 
owing  to  the  fact  that  by  doing  so  it  would  create 
a  vacuum  in  the  vessel,  which  the  pressure  of  the 
outside  air  of  course  prevents  it  doing. 

This  bird's  water  glass  or  fountain,  then,  is 
what  we  propose  to  use  as  a  constant-level  ink- 
bottle. We  have  only  to  fill  such  a  vessel  with 
ink  instead  of  water,  and  we  have  in  a  moment 
a  most  efficient  constant-level  inkbottle. 

As,  however,  such  an  inkbottle  would  be  very 
liable  to  be  upset,  it  is  desirable  that  we  should 
devise  some  form  of  inkstand  to  keep  it  in  an 
upright  position.  I  will  give  a  description  of 
the  form  such  an  inkstand  might,  in  my  opinion, 
take,  premising  that  I  do  not  doubt  that  many 
of  my  readers  could  devise  a  better  one. 

The  accompaning  engraving  shows  in  Fig.  1 
a  front  view  of  the  device ;  in  Fig.  2,  a  section 
through  the  line  a  h  (Fig.  1) ;  Fig.  3  is  a  plan  of 
the  base  of  the  inkstand;  and  Figs.  4  and  5 
illustrate  the  arrangement  for  keeping  the  top 
of  the  bottle  in  its  place.  Having  purchased 
your  inkbottle,  procure  three  pieces  of  wood — 
your  own  taste  will  decide  what  sort  of  wood  it 
is  to  be — one  about  \  inch  thick,  another  about  J 
inch  thick,  and  the  third,  say,  about  \  inch  thick, 
the  thickest  and  the  thinnest  measuring,  say,  6 
inches  by  6  inches,  and  the  medium  6  inches  by 
1 0  inches.  Cut  the  thickest  and  the  thinnest 
into  the  form  shown  in  Fig.  3.     Regarding  the 


A   NEW  CONSTANT-LEVEL  INKSTAND. 


305 


outside  outline  of  the  other  piece  of  wood,  it  may 
be  anything  you  like,  provided  it  is,  roughly 
speaking,  triangular.  Having  done  so,  draw  a 
light  pencil  line  from  the  apex  of  the  triangle 
to  the  base,  so  as  to  bisect  the  angle,  then  lay 
your  glass  vessel  back  downward  upon  the  wood, 
and  after  seeing  that  the  middle  of  the  glass  is 
a 


FIG.  I. — FRONT  VIEW  OF  INKSTAND. 

exactly  over  the  pencil  line,  trace  the  outline  of 
vessel  upon  the  wood.  Then  cut  out  the  shape 
drawn  upon  the  wood.  Tou  will  next  draw  the 
line  a  b  (Fig.  3)  exactly  down  the  middle  of  the 
thick  piece  of  wood,  and  placing  the  bottle 
upright  upon  the  board,  and  drawing  the  outline 


FIG.  2. — SECTION   THROUGH    LINE  a,    b  (FIG.  I). 

of  its  base  upon  the  wood,  cut  that  out.  Next 
stand  the  bottle  in  the  hole  you  have  cut — the 
board  lying  flat  meantime  upon  a  level  table — 
and  see  that  it  fits. 

The  next  part  of  the  process  will  be  to  fix  the 
medium  board  at  right  angles  to  the  thick  board 
along  the  dotted  lines  c  d.  This  can  be  best 
accomplished,  I  should  think,  by  inserting  pins 
in  the  base  board,  drilling  holes  in  the  edge  of 


the  upright  board,  and  then  dowelling  it  to  the 
base  board.  The  bottle  should  again  be  tried 
in  its  position ;  should  it  not  sit  close  up  into 
the  upright  board,  the  base  board  should  be  re- 
duced sufficiently  with  the  plane  to  rectify  that. 
Should  the  opposite  fault  manifest  itself,  that 
can  be  rectified  by  taking  a  little  off  the  edges 
of  the  hole  cut  in  the  upright  board  until  the 
whole  thing  fits  perfectly. 


FIG.  5. 

FIG.    3.  — PLAN  OF  BASE  OF  INKSTAND.        FIGS.    4   AND    5. 

DEVICE   FOR    KEEPING  BOTTLE   STEADY. 

All  having  been  found  satisfactory,  or  made 
so,  you  next  proceed  to  attach  to  the  bottom  of 
the  base  board  the  thin  board  upon  which  the 
bottle  will  rest. 

The  next  thing  to  be  done  is  to  provide  means 
for  steadying  the  bottle  near  the  top.  For  that 
purpose,  I  think  the  most  efficient  thing  will  be 
a  little  half-ring,  like  that  shown  at  Fig.  4, 
which  will  be  screwed  on  at  the  back  of  the 
upright  board,  and  will  encircle  the  neck  of  the 
bottle  at  the  back.  To  this  brass  half-ring 
should  be  attached  by  wire  ties,  as  shown  at 
Fig.  5,  a  small,  but  broadish,  indiarubber  band, 
just  large  enough  to  be  capable  of  being  slipped 
over  the  globular  top  of  the  bottle,  and  catching 
it  round  the  neck. 

All  that  is  now  necessary  in  order  to  complete 
the  inkstand  is  to  fit  a  lid  to  it,  to  keep  the  dust 
out  of  the  ink  in  the  little  trough,  and  to  polish 
or  otherwise  put  the  finishing  touches  on  the 
wood.  It  would  be  a  decided  set-off  to  the  ink- 
stand if  the  parts  of  the  upright  board  on  each 
side  of  the  bottle  were  ornamented  with  some 
pattern  in  fretwork. 

Should  the  reader  wish  to  make  himself  an 
inkstand  having  a  bottle  for  plain  ink,  a  bottle 
for  copying  ink,  and  a  bottle  for  red  ink,  he  may 
begin  by  procuring  three  birds'  fountains — two 
small  and  one  large — and  as  the  globular  knobs 


306 


WRINKLES  FOR  BOOKBINDERS. 


at  the  tops  of  the  glasses  are  usually  coloured, 
he  may  produce  a  good  effect  by  getting  the 
large  one  of  a  different  colour.  The  inkstand 
would  then  require  to  be  made  much  broader, 
in  order  to  provide  room  for  the  three  bottles. 

Something  must  now  be  said  about  the  filling 
of  the  inkbottles,  for  you  cannot  fill  them  in  the 
way  ordinary  inkbottles  are  filled.  When  the 
glasses  are  used  to  hold  water,  they  are  filled 
by  simply  turning  on  the  water  tap  a  little,  so 
as  to  have  only  a  tiny  thread  of  water  running, 
and  then  holding  the  bottle  back  downwards,  so 
that  the  water  can  flow  in  by  the  hole  connect- 
ing the  interior  of  the  vessel  and  the  trough,  or 
by  simply  dipping  the  bottle  in  a  vessel  of  water, 
and  then  taking  it  out  and  drying  it.  It  is 
obvious  that  with  ink  we  cannot  adopt  the  latter 
plan,  nor  even  the  former  plan  exactly.  You 
must  either  make  or  buy  a  little  tin  dish,  having 
a  spout  like  a  teapot  or  kettle,  and  having  filled 
that  from  the  large  bottle  containing  the  ink, 
fill  your  writing-bottle  by  means  of  that;  or 
you  may  purchase  one  of  those  combined  taps 
and  corks  sold  in  most  ironmongers'  shops,  and 
having  fixed  that  in  your  store-bottle,  in  place 
of  the  ordinary  cork,  use  it  for  the  purpose. 

An  inkstand  made  upon  the  lines  I  have  sug- 
gested will,  I  am  persuaded,  prove  a  most  useful 
device  to  everyone,  while  at  the  same  time  it 
will  form  an  ornament  for  desk  or  library  table 
of  an  entirely  novel  and  striking  character. 


The  aspiring  student  decorator,  who  seeks  to 
produce  an  original  design,  will  do  well  to 
thoroughly  comprehend  the  fixed  natural  laws 
which  govern  the  composition  and  arrangement 
of,  so-called,  schemes  of  colour,  before  commenc- 
ing his  task.  He  must  make  himself  acquainted 
with  the  relative  strengths  of  the  three  primary 
colours — red,  blue,  and  yellow ;  and  how,  by 
admixture,  they  produce  three  secondaries — 
violet,  orange,  and  green ;  then,  further,  how 
these  three  secondaries,  by  re-admixture,  pro- 
duce tertiaries  or  greys,  with  their  innumerable 
gradations.  He  must  also  understand  that  con- 
trast does  not  mean  placing  two  glaring  pig- 
ments in  opposition  to  each  other,  but  rather  a 
peaceful  association  of  two  colours,  one  of  which 
shall  be  complementary  to  the  other. 


WRINKLES    FOR    BOOKBINDERS. 

By  F.  S.  MORTON. 


5JHE  periodicals  of  the  present  day  are  so  full  of 
information  and  good  reading  that,  with 
the  exception  of  those  devoted  entirely  to 
news,  they  are  in  most  cases  preserved  for 
future  reference.  A  lot  of  loose  papers  and  magazines  are 
not  handy  to  refer  to,  as  to  make  an  index  of  any  value 
whatever,  the  numbers  for  the  year  or  volume  must  be 
kept  carefully  in  order.  As  a  result  of  this,  binding  up 
the  volumes  has  become  a  common  practice,  and  in  the 
workrooms  of  every  binder  may  be  seen  large  numbers  of 
such  volumes  in  different  stages  of  progress.  Amateurs,  of 
course,  like  to  do  this  for  themselves,  and  a  few  hints  as  to 
the  proper  methods  of  sewing  and  binding  the  numbers 
together  may  be  of  interest.  The  tools  for  this  work  may 
be  few  and  simple,  and  are  easily  procured  at  a  little  cost. 
For  the  first  operation  in  binding  a  magazine  like  Amateur 
Work,  a  pair  of  plyers  and  a  moderately  sharp  knife  will 
be  required.  First  tear  off  the  covers,  when  it  will  be 
seen  that  the  magazine  is  composed  of  sections  held 
together  by  wire  staples.  Formerly  these  sections  were 
sewn  together  with  thread,  but  the  process  has  almost 
entirely  given  way  to  the  neater  and  stronger  wires.  With 
the  plyers  remove  these  staples,  and  then  carefully  pull  • 
apart  the  sections ;  these  will  almost  always  come  apart 
easily,  unless  the  glue  is  remarkably  tenacious  or  has  been 
too  freely  used.  The  glue  must  all  be  removed  from  the 
sections  to  insure  good  work  ;  this  can  usually  be  done 
with  the  knife,  running  the  blade  along  the  edge  of  the 
fold,  and  peeling  it  off.  Do  not  wet  the  glue,  but  if  the 
knife  will  not  work,  pick  it  off  piece  by  piece  with  the 
fingers.  After  this  operation,  some  attention  should  be 
given  to  the  folding.  In  a  magazine  like  this  the  pages 
are  generally  true  with  each  other,  so  the  sections  need 
not  be  re-arranged,  but  unless  the  top  line  on  each  page 
comes  exactly  over  the  top  line  on  the  next,  and  so  on,  the 
leaves  should  be  re-arranged.  Then  the  sections  should 
be  piled  up,  each  one  registering  with  the  other,  as  each 
leaf  has  been  made  to  do,  with  the  title-page  and  index  in 
place.  It  is  well,  also,  to  sew  on  a  section  of  the  advertising 
pages  at  the  front  and  back,  to  protect  the  book  from 
being  soiled ;  these  can  be  torn  of  before  the  book  is 
finished.  When  the  sections  are  arranged  perfectly  true 
and  square  at  the  back,  place  a  thin  strip  of  wood  on  top 
and  bottom,  and  clamp  them  in  place  with  ordinary 
carpenter's'  clamps,  as  shown  in  Fig.  1.  With  a  square 
mark  a  line  across  the  centre,  at  right  angles  with  the 
back,  and  one  2  inches,  and  one  1  inch  from  each  end 
these  marks  are  shown  in  Fig.  1.  With  a  fine  saw  make 
cuts  on  these  marks  about  as  deep  as  the  cuts  are  wide,  or 
just  deep  enough  to  allow  strong  cord  to  sink  in  without 
any  of  it  bulging  out.  Remove  the  clamps,  and  the  book 
is  ready  for  sewing. 

The  sewing  frame  may  be  of  the  simplest  form  imaginable, 
even  if  a  fine  job  is  wanted.  Its  general  Btyle  is  shown  in 
Fig.  2,  a  book  all  sewn  being  represented  in  it.  A  base  an 
inch  or  two  longer  than  the  book,  two  uprights,  and  a  rod 


WRINKLES  EOR  BOOKBINDERS. 


307 


across  the  top,  is  all  that  is  required.  Lay  a  section  on  the 
base  board,  and  mark  where  the  three  central  cuts  come  ; 
then  at  each  mark  tack  the  end  of  a  piece  of  strong  twine 
(anything  stronger  than  cotton  will  do),  and  bring  the  end 
of  each  up  across  the  rod  and  tie.  Thread  a  long,  thin 
needle  with  strong  cotton  or  linen  thread,  and  proceed  to 
sew  the  first  section.  The  course  of  the  thread  is  shown  in 
Fig.  3,  the  needle  being  put  in  at  A,  and  out  round  each  of 
the  cords,  and  finally  out  at  b.  It  will  be  seen  that  when 
the  thread  is  pulled  taut, 
it  will  lie  in  a  straight 

.line  inside  of  the  section, 
and  outside  the  cords. 
Now  lay  another  section 
on,  and  put  the  needle 
in  at  b,  and  go  through 
in  the  opposite  direction 
from  the  first ;  tie  the 
two  ends  together  at  A, 
but  do  not  break  off  the 

thread.     Lay  on  section 

three,   and   go   back    as 

with  the  others,  only  in- 
stead of  tieing  pass  the 

needle  down  between  the 

first    two    sections,   and 

around  the  thread,  hold- 
ing them  together  so  that 

the  thread  will  be  locked 

in  with  them.     This  is  a 

difficult  operation  to  de- 
scribe, but  a  very  simple 

one  to  perform,  and  the 

amateur  will  see  what  it 

is  when  he  reaches  this 

point.  After  making  sure 

that  your  book  is  started 

right,  and  will  not  read 
'  hind    side    foremost," 

proceed  with  the  re- 
maining   sections    until 

all  are    sewn   in 

place.     Draw  the 

thread    down    at 

the  end  of  each 
one,  just  enough 
to  hold  the  sec- 
tion firmly,  but 
not  hard  enough 
to  make  the 
middle  bulge  out. 

When  tbe  last  section  is  in  place,  secure  the  end  of  the 

thread  and  cut  it  off.     Place  the  volume  in  some  kind  of 

press  (a  good  one,  and  one  easily  constructed,  is  described 
on  page  515,  Vol.  I.,  Old  Series),  or  between  two  boards, 

with  the  back  extending  over  the  edges,  and  screw  into  a 
bench  rice,  not  too  tightly,  but  just  enough  to  hold  the 
sections  firmly  together  while  the  back  is  covered  with 
glue.  First  pull  the  cords  through  the  cuts,  so  that  about 
an   equal  length  will  extend  from  each  side.     Allow  the 


FIG. 


glue  to  dry,  and  then  cut  the  front  edge.  If  a  cutting 
machine  cannot  be  used,  a  plough  knife  can  be  constructed, 
several  styles  having  been  described  in  back  numbers  of 
this  magazine ;  or  a  very  good  job  can  be  done  with  "a 
sharp  knife,  the  principal  difficulty  being  to  hold  both 
book  and  straightedge  firmly,  and  run  the  knife  true.  To 
overcome  this  difficulty,  take  a  strip  of  wood  a  little  longer 
than  the  book,  plane  one  edge  smooth,  and  bore  a  hole  in 
each  end,  so  that  a  large  screw  will  fit  loosely  in  each. 

Now  mark   on  the  .  book 
where  it  is  to  be  cut,  and 
place  the  straight  edge  of 
the    strip  on   the   mark. 
Be  sure  that  the  back  of 
the  book  is  flat,  and  not 
rounding  when  the  board 
is  put  in  place.     With 
two   long   screws    faBten 
the  strip  down  firmly  on 
a  bench  or  wooden  table, 
with  the  book  underneath. 
Fig.  4  will  explain   how 
it   is   to   be   done.     This 
arrangement     will     hold 
the  book,  and  allow  both 
hands  to  do   the  cutting. 
After  the  front  edge  is 
trimmed, round  the  back; 
this  is  done  with  a  ham- 
mer, firBt  pounding  each 
edge  of  the  back  as  it  lies 
on  the  table.    Then  screw 
into  the  press  or  vice,  as 
shown    in    Fig.    5,    and 
hammertheback  smartly. 
The   more   compact   and 
solid  the    back   is   ham- 
mered  down  (the   round- 
ing, of  course,  being  pre- 
served,   as    shown),    tbe 
more  satisfactory 
the     appearance 
of  the  book  will 
be  when  finished. 
It  will  be  almost 
impossible      for 
the         amateur, 
F,<V+-  without    the 

i.— sections  clamped  together  for  sewing  backs,  fig.  2.— sewing  frame,  heavy  machinery 

FIG.    4.— METHOD   OF  HOLDING    BOOK   WHEN    CUTTING    EDGES.  0f      the       binder 


to  do  this  part 
so  that  the  book  will  bo  perfectly  formed ;  but,  with  good 
pressure  and  lots  of  careful  hammering,  a  very  good  job 
can  be  done.  It  will  be  noticed  that  the  fore  edge  of  the 
book  now  possesses  the  concavity  seen  in  regularly  bound 
books.  This  part  done,  place  a  piece  of  thick  millboard 
or  pasteboard  on  each  side  of  the  book,  and  after  fastening 
it  down,  as  in  cutting  the  front  edge,  cut  each  end  ;  then 
replace  in  the  press,  with  the  millboards  at  each  side.  If  a 
fancy  job  is  aimed  at,  tbe  head  bands  should  now  be  put  in 


308 


WRINKLES  FOR  BOOKBINDERS. 


place  at  each  end.  They  are  made  by  pasting  a  piece  of 
fancy  calico  or  silk  over  a  string,  as  shown  in  section  in 
Fig.  6  ;  glue  a  strip  of  this  at  each  end,  so  that  the  thick 
part  formed  by  the  string  will  project  over  the  end.  Now 
cover  the  back  with  glue,  and  spread  a  piece  of  paper  all 
over  it,  and  allow  to  dry. 

If  a  spring  back  is  wanted,  it  may  be  formed  in  the 
following  manner : — Cut  a  piece  of  firm  brown  paper  as 
long  as  the  book,  and  within  \  inch  as  wide  as  the  back 
(this  is  in  place  of  the  strip  just  mentioned,  so  that  the  back 
of  the  book  has  no  covering)  ;  cover  it  with  glue,  and  after 
folding  the  paper,  as 
in  Fig.  7,  put  it  in 
place  over  the  back. 
When  the  book  is 
opened,  the  outer 
part  of  the  paper  will 
spring  away  from  it, 
being  held  only  by 
each  edge,  and  will 
preserve  the  shape  of 
the  covering  on  the 
back. 

The  covers  should 
be  of  millboard,  pro- 
curable at  the  binders, 
or  of  any  thick  paste- 
board. The  latter  is 
not  so  strong,  but  will 
do  for  ordinary  work. 
Cut  them  large 
enough  to  allow  a  margin  of  about  \  inch  on  the  front  and 
ends.  If  the  back  is  properly  rounded,  the  projecting 
shoulder  should  be  just  high  enough  to  come  even  with 
the  top  of  the  cover.  Then  lace  in  the  cords,  as  in  Fig.  8, 
which  shows  the  cover  lifted  up  from  the  book  to  more 
clearly  indicate  the  lacing.  Work  glue  into  the  holes,  and 
untwist  the  cord,  so  that  it  will  lie  flat  as  possible.  When 
dry  cut  off  the  end  even  with  the  cover,  and  hammer  flat 
on  an  iron  surface. 

If  the  book  is  to  be  covered  in  half  leather,  which  is  the 
style  best  adapted  to  an  amateur's  ability,  a  strip  of  the 
kind  of  leather  to  be  used  should  be  cut  2  inches  longer 
than  the  book,  and  wide  enough  to  cover  the  back,  and 
an  inch  or  more  on  each  side.  Pare  the  edges  down  to 
nothing,  and  cover  the  inside  with  glue.  With  the  book  in 
the  press,  place  the  leather  on  so  that  an  equal  space  will 
be  covered  on  each  side,  and  turn  in  the  ends,  making  as 
neat  a  job  as  possible.  Smooth  the  leather  down,  and, 
before  the  glue  is  dry,  with  some  hard,  smooth  tool,  rub 
down  the  fold  at  each  end,  so  that  it  will  fit  closely  to  the 
head  band.  Corner  pieces  of  leather,  to  match  the  back, 
should  also  be  put  on  the  four  corners  of  the  covers.  Pare 
the  edges  of  these  corner  pieces  thin,  and  they  will  fit  in 
place  all  right.  Cover  the  remaining  space  on  the  outside 
with  bookbinder's  cloth,  marbled  paper,  or  any  similar 
material. 

Now  turn  back  the  cover,  one  side  at  a  time,  and  tear  out 
the  advertising  section  put  in  at  first  to  protect  the  book 
from  being  soiled.     Take  a  sheet,  for  each  end,   of  fine 


FIG. 9. 


FIG.  3.— COURSE  OF  THE  THREAD  IN  SEWING.  FIG.  5. — ROUNDING  THE 
BACK.  FIG.  6. — SECTION  OF  HEAD  BAND.  FIG.  7. — METHOD  OF 
FOLDING  THE  PAPER  FOR  A  SPRING  BACK.  FIG.  8.  —  LACING  ON  THE 
COVER.      FIG.    9. — FOLD    IN   END   PAPER, 


white  and  strong  manilla  paper,  twice  as  large  as  a  page, 
fold  them  in  half,  and  after  rubbing  down  the  fold,  place 
a  straightedge  \  inch  from  the  folded  edge,  and  turn  up 
the  edge  with  the  thumb-nail,  as  shown  in  Fig.  9.  Cover 
the  edge  A,  first,  of  the  white  sheet,  and  then  the  manilla, 
with  glue,  and  put  them  in  place  in  the  book,  the  shoulder 
fitting  in  against  the  shoulder  made  in  the  back.  Turn 
back  the  cover,  which  will  hug  these  leaves  tightly  in  place. 
Trim  the  edges  even  with  the  edges  of  the  book,  and  then 
paste  the  brown  sheet  nest  the  cover  all  over,  and  shut  the 
book.     Keep  under  pressure  until  thoroughly  dry,  when  it 

is  ready  for  labelling 
and  finishing,  which 
can  be  done  in  a 
simple  or  elaborate 
manner,  as  one  may 
choose.  Hints  on  an 
easy  method  of  doing 
this  part  have  re- 
cently been  given  in 
these  pages. 

The  foregoing  may 
not,  in  all  its  par- 
ticulars, be  exactly  in 
accordance  with  a  pro- 
fessional bookbinder's 
ideas,  but  it  is  a  me- 
thod by  which  any 
careful  person  can 
turn  out  a  book  at 
home  that  will  com- 
pare favourably  with  the  work  of  a  regular  binder,  and 
thereby  save  a  great  outlay  for  professional  work. 


NOTES  ON  NOVELTIES. 

By  TEE  EDITOR. 


HE     DEMON     WATER    MOTOR.— Mr.     P. 

Pitman,  Aubrey  Road,  Withington,  sends  me 
an  account  of  an  improved  Water  Motor 
which  he  has  introduced  and  christened  "  The 
Demon.''  The  proprietor  of  this  small  engine  vouches  for 
its  reliability,  even  where  a  small  supply  only  of  water 
under  pressure  is  obtainable  ;  thus  it  offers  a  source  of 
power  to  be  employed  for  domestic  purposes,  or  in  the 
amateur's  workshop,  that  will  be  exceedingly  welcome. 
The  characteristic  that  should  commend  water  motors  to 
amateurs  and  others  is,  that  as  a  rule  they  demand  no 
considerable  amount  of  attention,  but  among  the  "  Demon '' 
kind  this  demand  seems  to  be  practically  nil,  as  I  see  that 
some  of  them  have  been  working  for  months  without  clean- 
ing or  adjusting.  An  economical  consumption  of  water  is 
effected  in  them  by  using  a  pipe  of  small  bore ;  and  the 
prices  they  are  offered  at  seems  well  within  the  range  of 
moderately  well-filled  purses.  They  are  made  in  four 
sizes,  prices  as  follows  : — £1  5s.,  quarter-man  power,  to 
£3  5s.  for  two  men  power  ;  this  latter  size  can  be  worked 
to  higher  powers  by  using  a  pipe  of  wider  bore.     There  is 


-AMATEUR    WORK"    PRIZE    SCHEME. 


309 


an  extra  charge  for  regulator  to  eacb  size,  ranging  from 
4s.  fid.  to  10s.  lid.  Mr.  Pitman  also  says  that  he  is  able 
to  supply  castings  to  those  who  desire  to  make  their  own 
motors  ;  the  prices  for  sets  of  castings  are  14s.  6d.  to  33s. 
La  Brillantine. — Messrs.  Baumgartner  &  Oj.,  15,  Newman 
Street,  Oxford  Street,  W.,  have  forwarded  me  a  sample  of 
their  "  La  Brillantine,"  a  powder  for  cleaning,  polishing, 
and  preserving  metal  and  glass.  It  is  described  as  a 
"'natural  metallic  powder"  only  rendered  impalpable  by 
washing ;  and  I,  having  tried  it  upon  various  kinds  of 
metal  work,  can  bear  testimony  to  its  efficacy.  I  was 
agreeably  surprised  at  the  wonderful  rapidity  with  which 
a  mirror-like  polish  appeared,  even  by  the  expenditure  of 
a  very  small  quantity  of  powder,  and  very  little  labour  ; 
so  much  for  its  economy.  Neither  can  its  price  be  said  to 
give  cause  for  complaint — 1  lb.  packets  are  Is.  6d.,  but 
smaller  quantities  are  Id.  packets  and  fid.  and  Is.  boxes. 


AMATEUR      WORK 

PRIZE    SCHEME. 

XII.  —  The  following  prizes  are  offered  for 

THE    THREE     BEST    TOYS    CON- 
STRUCTED   OF  WOOD   OR    METAL. 


1st  Prize 
2nd     „ 
3rd     ,, 


£   s.  ri. 

1   10  0 

1     0  0 

0  10  0 


This  subject  of  this  competition  is  one  tbat  offers  a  pretty 
considerable  variety  to  select  from,  and  the  mate- 
rials enumerated  are  the  two  kinds  which  amateurs 
prefer  more  especially  than  others  to  employ  in  the 
specimens  of  their  handiwork.  Originality  ^of 
conception,  as  well  as  neatness  of  execution,  will  be 
considered  in  the  adjudication. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  May  29th,  carriage  paid,  and  addressed 
— The  Editor  of  Amateur  Work,  Warwick  House, 
Salisbury  Square,  London,  E.C. 

(3).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
(except  MS.)  must  enclose  an  addressed  label.  If 
the  article  is  to  be  returned  by  parcel  post,  the 
label  must  be  fully  stamped  ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 

(5).  The  prize  may  be  withheld  if,  in  any  competition,  less 
than  three  competitors  enter. 

(ti).  The  decision  of  the  Editor  shall  be  final. 


RESULTS  OF  COMPETITIONS. 

VIII.,  IX.,    AND   X. 

VIII. — A  .Prize  of  One  Guinea  for  the  best  Specimen 
of    Repousse  Work    in   Brass. — Practically  there 
was  no  contest  for  this  prize,  a   fact  rather  to  be 
regretted,  considering  the  excellence  of  two  specimens 
sent  in   by  the  only  competitor.     These  specimens 
consisted  of  (1)  a  salver,  upon  which  was  embossed 
a  profile  male  figure — an  artist  sitting  at  work  before 
an  easel ;  this  was  a  very  good  piece  of  work,  albeit 
somewhat  stiff  in  drawing,  and  did  not  afford  me  so 
much    satisfaction   as  contemplation   of    the  other 
specimen   did.     (2)   This  was    a   door   finger-plate 
bearing  a  study  of  leaves   and  berries  disposed  in 
scroll  fashion,   and  altogether  giving   evidence  of 
conscientious    painstaking    workmanship.     I    have 
decided,  in  this  instance,  that  to  withhold  the  prize 
would  be  unjust,  especially  as  I   believe  that  such 
work  as  these  specimens  show  would  have  taken  a 
high,  if  not  the  foremost,  place  had  there  been  a 
contest ;    therefore   the   prize   of    One    Guinea    is 
awarded   to  Mr.  Fredk.  Holt,  22,  Bunbury  Street, 
Nottingham. 
IX. — A   Prize  of  One    Guinea  for  the  best  Specimen 
of  Amateur  Printing. — I  suppose  tbat  I  must  not 
be  so  exacting  as  to  expect  a  high  staudard  of  excel- 
lence in  a  competition  amongst  [amateur  printers, 
knowing  as  I  do  that  expensive  plant  and  perfect 
apparatus  are  indispensable  to   the   production  of 
even  fair  printing.     Certainly  there  is  no  evidence 
about    the    batches  of   specimens    before  me  that 
type  in  the  beBt  condition  was  available  at  the  time 
of  their  production  ;  but  as  lack  of  material  is  a 
complaint  that   amateur  printers    generally   suffer 
from,  it  must  not  stand  to  their  discredit.     I  there- 
fore award  the  prize  of  One  Guinea  to  Mr.  G.  W. 
L'Estrange,    1,    Clifton     Terrace,  Moukslown,    Co. 
Dublin,   for   the   excellent   way   in   which   he    has 
demonstrated  his  ability  as  an  Amateur  Compositor 
and  Printer.     Of  course,  there  are  among  his  work 
sundry   points   to  which  exception  can  be  taken; 
notably  in  the  heading  of  "  Missionary  Scraps  " — the 
metal  rules  are  unsightly  and  unnecessary,  and  the 
space  between  the  words  should  be  reduced.     In  the 
handbill,   "  Sale  of  Work,"  the  display    migbt  be 
improved,  and  the  space  between  the  lines   more 
judiciously,    distributed  ;      but,     altogether,     Mr. 
L'Estrange  appears  to  have  made  good   use  of  the 
material  at  his  command  ;  hence  his  success.     The 
specimens  sent  in  by  Mr.  W.  Burn,  although  very 
commendable,  do  not  evince  the  same  amount  of 
care  and  painstaking  as  the  above,  and  therefore 
must  be  relegated  to  second  place. 
X. — A   Prize    of   One    Guinea   for   the   three  best 
Suggestions   for  House  Decoration. — One  com- 
petitor only  sent  in  drawings  and  descriptive  matter 
for  this  competition ;  but  as  this  essay  exhibited  no 
particular  merit,  I  have  withheld  the  prize. 

VOL.  III.  (n.8.) B   B 


010 


AMATEURS  IN  COUNCIL. 


AMATEURS  IN  COUNCIL. 


OPEN    TO    ALL   READERS. 


Organ  Building. 
W.  J.  Westfield. — The  reason  why 
I  do  not  recommend  a  2-feet  stop  in  a 
small  organ  is,  the  tone  is,  of  necessity 
too  brilliant  a  nature  to  allow  for  its 
insertion.  The  almost  invariable  result 
with  organs  leaving  off  at  a  Fifteenth 
is,  that  in  consequence  of  that  stop 
representing  the  highest  harmonic,  it  is 
heard  above  all  the  others  ;  a  result  far 
from  satisfactory.  Still,  as  you  have 
the  pipes  made,  and  bellows  capacity 
fairly  adequate,  you  might  put  the 
stop  in.  It  does  not  follow  that 
because  the  pipes  are  there,  therefore 
the  stop  should  be  constantly  in  use. 
If  I  had  the  specification  in  hand,  I 
should  insert  a  Dulcet  Principal,  4- 
feet  tone,  instead  ;  it  would  occupy 
very  little  more  room,  and  consume  a 
nominal  quantity  more  wind  than  the 
Fifteenth.  If  your  organ  is  nicely 
voiced,  and  carefully  finished  in  every 
detail,  many  an  organist  would  be  only 
too  glad  of  availing  themselves  of  the 
opportunity  to  practise  on  it.  Take 
care  to  make  the  fact  well  known  that 
you  have  such  an  instrument.  I  hope 
you  will  be  able  to  derive  some  benefit 
from  my  articles.  I  wish  you  every 
success   in   your   undertaking. — Organ 

BULLOER. 

CoiL 

B.  Montgomery.  —  The  connections 
are  right,  but  three  layers  of  primary 
are  seldom  wound  on  coils  of  a  small 
size.  Even  in  much  larger  machines 
two  layers  are  quite  enough.  The 
fault  is  not  in  the  primary,  however, 
since  it  works  well.  Did  you  test  each 
layer  of  secondary  separately  as  it  was 
completed  in  the  winding  ?  Next  to 
insulation  this  is  most  important.  The 
wire  is  so  fine  that  a  break  is  not.  easily 
detected  unless  the  separate  layers  are 
tested  for  continuity  by  means  of  a 
battery  and  a  galvanometer.  Since  no 
current  is  got  through  the  secondary, 
this  is  the  most  probable  cause  of 
failure — the  secondary  wire  is  broken. 
Unless  you  care  for  the  trouble  of 
unwinding  and  finding  the  break,  the 
coil  can  be  used  for  shocking  as  it 
stands,  by  taking  the  shock  from  the 
primary. — A.  Tratnor. 


magic  Pocket  Lamp. 
"  L.  S.  D."  communicates  the  follow- 
ing : — "  Among  the  numerous  novelties 
of  the  present  age,  and  the  many 
clever  inventions  for  which  the 
Americans  are  so  noted,  allow  me  to 
call  your  attention,  and  that  of  your 
readers,  to  the  above  little  pocket  lamp, 
of  which    I    send    you   two   sketches. 


FiC.   I. 

Though  doubtless  it  must  have  been 
introduced  into  England,  I  have, 
nevertheless,  seen  no  mention  of  it 
anywhere ;  but  whether  such  is  the  case 
or  not,  there  must  be  many  of  your 
readers,  both  at  home  and  abroad,  to 
whom  it  is  a  stranger;  and  having 
myself  found  it  such  a  useful  little 
companion,  either  at  my  bedside  at 
night,  when  requiring  a  momentary 
light,  or  in  my  pocket  when  rambling 


FIC. 2. 

abroad  and  seeking  the  solace  of  a  pipe 
or  cigar,  1  desire  to  introduce  it  to 
their  acquaintance.  It  is — as  the 
circular  which  accompanies  each  lamp 
describes  it  — '  neither  a  toy  nor  a 
humbug,  but  a  practical  mechanical 
device  which,  with  proper  treatment  at 
your  hands,  will  amply  repay  any  little 
attention  you  beBtow  upon  it,'  It  is 
in    size   and   shape   like   an    ordinary 


fusee  box,  and  nickel-plated.  Fig.  2 
shows  the  mechanical  arrangement 
inside.  D  is  a  small  reservoir  contain- 
ing cotton  saturated  with  Borne  prepared 
oil,  and  the  wick,  p  is  a  cardboard  disc 
(removable)  containing  twenty  -  four 
lights,  or  rather  matches,  on  each  side, 
so  that  one  filling  will  give  forty-eight 
lights.  On  pressing  the  button  (a) 
sharply,  the  lid  flies  open,  and  a  match 
is  struck,  which  immediately  ignites  the 
lamp  B,  which  gives  a  light  equal  to  a 
small  taper,  and  will  burn  for  some 
minutes,  if  required,  until  the  oil  is 
exhausted ;  but  its  chief  use  is,  of 
course,  for  a  momentary  light  by 
whiim  a  cigar  or  candle  can  be  lighted. 
A  slight  pressure  on  the  button  A 
opens  the  lid,  but  by  a  further 
pressure  the  match  is  struck,  so  that 
the  two  operations  can  be  done 
separately  if  required.  Unless  the 
reservoir  is  overfilled,  the  oil  will  not 
run  out,  so  that  it  can  be  carried  about 
without  danger  of  soiling  the  clothes. 
In  order  to  refill  the  reservoir  or  renew 
the  disc,  press  the  button  c,  when  the 
side  opens  as  at  Fig.  2.  In  this 
position  it  will  stand  upright,  and  form 
a  stationary  lamp.  Most  of  the  patent 
cigar  lights,  to  my  experience,  are 
failures ;  but  this  is  an  exception,  and  I 
have  never  regretted  its  purchase.  It  is 
manufactured  by  the  'Magic  Intro- 
duction Company,'  New  York,  and 
supplied  in  a  neat  box,  containing  a 
bottle  of  oil,  two  boxeB containing  2,000 
lights,  and  a  feeder  for  refilling  lamp, 
at  4s.  2d. 

Blackboard. 
J.  Wild. — To  renovate  your  black- 
board you  must,  in  the  first  place, 
prepare  the  old  surface  by  rubbing  it 
down  briskly  with  pumice-stone,  glass- 
paper,  or  emery  cloth ;  then  after 
sweeping  away  the  consequent  dust, 
examine  the  board  for  cracks  or  serious 
indentations,  and  wherever  such  occur 
stop  them  with  putty  made  black  by 
the  addition  of  lampblack.  To  re- 
paint, grind  lampblack  and  a  little 
blue  in  turps,  and  add  to  the  mixture  a 
small  quantity  of  varnish,  to  check  the 
volatile  quality  of  the  turps.  When 
the  grinding  and  mixing  of  the  above 
is  smoothly  done,  stir  in  some  sifted 
flour  of  emery,  and  apply  two  coats  of 
the  paint  thus  made  to  the  board, 
using  a  brush  of  a  size  convenient  for 
the  work. 


AMATEURS  IN   COUNCIL. 


311 


A  Resin  Distributor. 
H.  J.  W.  {Chicago)  writes :  —  "  I 
■enclose  herewith  a  sketch  of  a  little 
article  which  interested  me  much  when 
it  was  brought  to  my  notice,  a  few  days 
*ince,  as  I  think  it  may  prove  itself  to 
be  a  useful  article  to  the  amateur  metal 
working  fraternity.  It  is  only  a  box 
for  containing  granulated  resin ;  but  I 
can  assure  you  it  must  not  be  judged 
by  its  appearance,  as  when  once  used 
for  distributing  resin  on  sheet  metal 
work,   or   in   making    joints   on    lead 


—  It 


pipes,  it  will  soon  prove  its  usefulness 
to  the  operator.  It  is  easily  constructed, 
and  is  made  as  follows  : — The  body  is 
simply  a  piece  of  tin  fashioned  cylin- 
drical in  shape,  the  diameter  of  same 
being  1J  inches,  the  bottom  being 
'  clapped  on.'  The  cap  or  conical 
•coyer  consists  of  a  narrow  piece  of  tin 
made  to  fit  telescopically  around  body, 
and  having  a  conical  top  '  clapped  on,' 
as  shown  in  sketch,  with  a  small  hole 
at  the  top  for  the  resin  to  pass  through 
in  small  quantities." 

Tempering  Files. 
K.  E.  —  Files  are  hardened  first, 
and  then  tempered.  In  hardening  a 
file,  or  anything  else  that  is  long  and 
requires  hardening  all  over,  care  must 
be  taken  that  it  does  not  warp.  This 
is  .best  avoided  by  dipping  it  in  the 
water  vertically  ;  if  laid  in  horizontally, 
the  side  touching  the  water  first  would 
contract,  thus  drawing  the  file  bow- 
ebap^d.  Care  must  be  taken  to  get  an 
even  Umperature  all  over  when  drawing 
the  temper.  The  final  dip  is  usually 
in  oil. — L.  L. 


Rubber  Stamps. 

Security  (Auckland,  N.Z.)  writes  : — 

"  I  have  just  written  to  Messrs.  Henry 
J.  Martin  and  Oo.,  rubber  stamp 
makers,  Cork,  asking  some  particulars 
of  them  as  to  the  apparatus  they 
supply  for  rubber  stamp  making.  I 
have  been  led  to  do  this  through 
reading  the  articles  (by  one  of  the 
above  firm,  on  pages  331  and  421  of 
Volume  II.  of  Amateur  Woke,  Illus- 
trated) on  '  Bubber  Stamp  Making,' 
and  I  should  like  to  write  to  many 
others  in  the  same  strain ;  but  to  carry 
out  all  instructions  given  as  to  obtaining 
appliances  for  working,  would  require 
a  longer  pocket  than  mine.  I  would 
mention  that  out  of  your  valuable 
books  I  have  tried  many  things,  and 
bave  succeeded  very  well  in  almost 
all  of  them,  especially  in  the  case  of 
electric  bells.  Our  bells  would  not 
ring  for  two  years,  for  anyone,  not 
even  a  practical  electrician,  who  tried 
tbree  times  to  set  them  to  rights,  and 
then  gave  it  up  as  a  bad  job.  In  July 
last,  I  heard  of  your  books,  and  having 
perused  one  volume  decided  to  purchase 
all  the  published  volumes,  although  it 
was  a  severe  strain  on  my  purse.  This 
course  I  have  not  yet  regretted,  and  I 
do  not  think  I  shall  do  so.  I  carefully 
read  over  the  chapters  on  bells  first, 
and  then  set  to  work  according  to 
Mr.  Edwinson's  splendid  instructions, 
and  after  about  four  hours'  work,  or 
rather  '  fossicking,'  all  the  bells  were 
ringing,  and  they  have  not  failed  since. 
One  cannot,  of  course,  do  everything  at 
once,  but  I  do  not  despair  of  turning 
out  some  of  the  bigger  and  more  in- 
tricate articles  touched  on  and  explained 
in  your  magazine.  I  am  sure  many  of 
our  country  folk  who  are  forced  to 
makeshifts  for  themselves,  would  find 
it  very  valuable,  but  I  am  afraid  it  is 
not  enough  known.  I  am  looking 
forward  to  receiving  Vol.  VIII.  shortly, 
as  a  local  bookseller  has  sent  to 
Melbourne  for  it  for  me,  and  I  am 
sure  1  shall  not  be  disappointed  with  it 
if  is  like  its  forerunners.  In  closing,  I 
would  thank  you  for  the  information  I 
have  received  through  your  medium." 
[It  is  gratifying  to  read  such  letters 
as  yours,  and  to  find  that  Amateur 
Work  has  proved  itself  to  be  so  valuable 
a  fount  of  information  to  you.  With 
regard  to  tbe  firm  you  mention,  I 
rather  doubt  its  existence  ;  therefore,  in 


anticipation,  have  handed  your  copy 
of  letter  to  another  firm,  who  no  doubt 
will  communicate  with  you. — Ed.] 

Portmanteau  Stand. 
J.  S.  P. — The  methods  you  propose 
to  employ  in  making  a  portmanteau 
stand  would,  I  fear,  result  in  lament- 
able failure ;  the  top  frame  would  be 
strong,  it  is  true,  but  the  unsteadiness 
of  its  supports  would  for  ever  condemn 
the  whole  thing  as  a  source  of  trouble 
and  annoyance  ;  you  are  therefore  right 
in  scenting  a  difficulty  in  that  direction. 
Now,  to  do  the  thing  properly,  you 
must  frame  up  your  stand  as  though 
you  were  constructing  an  ordinary 
kitchen  table ;  proceed  in  this  wise : 
having   decided    upon   the  dimension* 


of  the  stand,  including  the  height  you 
desire  it  shall  be,  cut  four  pieces  of 
wood  of  equal  length,  2^  inches  square 
for  the  legs,  then  cut  four  bars  from 
the  2J  inch  by  1  inch  stuff— two  for 
sides  and  two  for  ends — and  after 
preparing  these  four  pieces  with  tenons, 
mortise  them  to  the  uprights,  glueing 
all  strongly  together.  Now  make  the 
frame  for  the  top  by  halving  or 
mortising,  accordingly  as  you  feel  in- 
clined, and  when  you  have  inserted  the 
cross  rails  which  will  form  the  grating, 
screw  it  at  top  of  the  stand  you  have 
already  prepared.  I  give  rough  sketch 
to  assist  this  brief  description. 

Scudamore  Organs. 
"  E."  -Who  is  Scudamore  ?  What 
is  he  ?  I  do  not  recognise  the  name 
amongst  the  known  builders  of  church 
organs.  Perhaps  he  makes  American 
organs.  If  the  pipes  in  the  instruments 
you  mention  are  speaking  pipes,  they 
must  have  a  separate  soundboard  for 
each  stop  if  the  pipes  are  planted  as 
you  say.  It  is  impossible  to  convey 
the  wind  to  every  pipe,  as  would  have 
to  be  done.  I  have  never  seen  an 
organ  with  the  pipes  arranged  with  the 
largest  in  the  centre  for  one  stop,  and 
the  smallest  in  the  middle  for  the  next. 
Organs  are  frequently   made  with   the 


312 


AMATEURS  IN  COUNCIL 


whole  of  the  stopB  of  one  manual 
arranged  as  in  the  former  ease,  and  the 
stops  of  another  manual,  as  in  the  latter 
example.  The  action  is  then  altered 
to  make  the  notes  come  right ;  the 
taking  of  the  wind  to  the  pipes  would 
have  nothing  to  do  with  it. — Organ 
Builder. 

Amateur  Appliances. 
J.  T.  C.  (British  Ouiana)  writes: — 
"  I  am  glad  to  find  from  your  '  Notes 
on  Novelties  '  in  the  February  number 
of  'Amateur  Work,  that  thej  John 
Wilkinson  Co.,  of  Chicago,  have  sent 
you  one  of  their  catalogues,  and  that 
you  feel  yourself  justified  in  again 
calling  the  attention  of  your^readers  to 
the  varied  j,  assortment  gof  amateur 
appliances  they  supply.  I  say  '  again ' 
for  on  reference  to  page  544,  Vol.  III., 
you  wilUiind  I  drew  your  '^attention 
to  it,  and  at  the  same  time  forwarded 
you  a  specimen  of  some  screws  1 
procured  from  them  ;  and  I  was  glad 
to  see,  at  page  93,  Vol.  IV.,  another 
correspondent,  '  S.  M.  L.'  was  able  to 
endorse  all  I  stated.  I  have  dealt  with 
them  for  many  years,  and  [have  never 
had  oause  to  complain.  The  small 
boxes  of  gilt  and  silvered  escutcheon 
pins,  and  fine  brass  screws  (pages  65 
and  67),  I  have  been  unable  to  get  any 
anywhere  else.  Like  most  American 
firms,  they  forward  catalogues  free  ;  an 
example  English  firms  would  do  well  to 
follow. " 

Camera,  etc. 
"  Otto  Orno  "  aBks  whether  Mr. 
Parkinson's  camera  is  the  best  that  has 
appeared  in  Amateur  Work  for 
landscape  photography.  I  muBt  leave 
the  amateurs  who  have  tried  that,  and 
other  kinds,  to  decide  this  question ; 
perhaps  some  subscriber  will  give  his 
experience.  "  Otto  Orno  "  also  wishes  to 
be  informed  where  in  Manchester  he 
can  obtain  small  castings  in  iron  and 
brass,  banjo  fittings,  steel  wire  for 
making  drills  and  taps ;  and,  also, 
where  in  Manchester  he  can  obtain 
photographic  plates,  chemicals,  and 
Woodbury  tissue.  This  is  rather  a 
large  order,  but  perhaps  some  com- 
plaisant friend  in  that  town  will  afford 
the  information.  With  regard  to  the 
gas  or  oil  engine,  "Otto  Orno"  must 
bear  patiently  with  us,  and,  may  be,  his 
demand  will  be  satisfied  in  the  course 
of  the  issue  of  the  next  volume. 


Specula  Grinding. 
"Alchemist"  writes  :  —  "  Having 
read  with  pleasure  the  excellent 
articles  in  Amateur  Work  on  specula 
grinding,  I  have  resolved  to  try  my 
hand  in  this  branch  of  art.  I  have 
obtained  my  glass  discs  for  a  6^-inch 
speculum  from  Messrs.  Farmiloe  Bros., 
Westminster,  and  they  prove  very 
satisfactory.  But,  like  other  amateurs, 
I  shirked  the  rough  grinding  of  the 
edges,  which  I  can  quite  imagine  would 
neither  improve  one's  patience  or  lathe. 
I  therefore  hunted  up  a  glass-grinder 
'  in  a  small  way,'  and  got  what  I 
wanted  done  by  Mr.  Hastwell,  of  19, 
Bennett  Street,  Mack/Hart,  S.E.  The 
thickest  glass  disc  was  very  nicely 
finished  but  not  polished,  and  the 
thinner  one  was  ground,  leaving  only 
the  deepest  of  the  dents  in.  The 
charge  for  grinding  the  two  was  4s.  6d., 
which  I  thought  fairly  moderate,  other 
grinders  wanting  7s.  for  the  same  job. 
I  have  found  some  difficulty  in  obtaining 
washed  flour  emery.  I  at  last  obtained 
some  from  Buck's,  which  they  said  was 
washed,  costing  6d.  per  pound ;  but  I 
find  that  ou  mixing  this  in  water  for 
the  grading,  that  a  thick  dirty  scum  is 
left  on  the  top  of  the  water,  which  is 
very  difficulty  to  get  rid  of.  I  therefore 
conclude  that  the  emery  was  not 
washed  flour  emery.  I  have  not  yet 
begun  the  grinding,  but  hope  to  bring 
it  to  a  successful  termination.  Hoping 
the  address  of  the  glass-grinder  may 
prove  useful  to  other  amateurs." 

Brass  Rods. 
"Four  ^Years  Subscriber." — You 
would  no  doubt  be  able  to  obtain  the 
short  pieces  of  brass  you  are  wanting 
at  any  of  the  metal  merchants  in 
London.  Communicate  with  John 
Smith  and  Son,  St.  John's  Square, 
ClerkenweU,  and  I  do  not  think  you 
will  have  need  to  go  farther. 

Wind  Power  to  Workshop. 
J.  W.  S.  {Orkney)  writes  :— "Part  29 
of  Amateur  Work  just  to  hand,  and  I 
was  glad  when  I  saw  the  commence- 
ment of  the  long-looked  for  paper  on 
'  Wind  Power  for  the  Amateur's  Work- 
shop.' I  am  sorry  that  I  made  a 
mistake  in  not  giving  fuller  details  of 
my  situation  ;  as  Mr.  Thorold  says.  I 
have  a  5J-inch  centre  back  gear  turning 
lathe  with  10-feet  bed,  and  circular 
saw,  and  I  am  constructing  a  vertical 


frame-saw  with  self  feed,  to  drive  also. 
The  general  sawing  will  be  1,  2,  and 
3  inch  woods.  The  locality  is  good. 
The  shop  is  on  a  level  ground  of 
good  extent,  and  it  is  one  storey.  I 
have  plenty  of  floor  room.  I  give 
these  few  details  through  '  Amateurs  in 
Council,'  hoping  that  it  will  help  Mr. 
Thorold  a  little  with  his  valuable 
instructions  on  wind  power,  to  his 
friends  at  a  distance ;  it  will  be  of 
great  value  to  many  that  possess  a 
good  turning  lathe,  etc." 

[J.  W.  S.  will  no  doubt  find  pleasure 
in  perusing  the  second  portion  of  Mr. 
Thorold's  subject  in  the  present  part 
of  Amateur  Work.  This  paper  fully 
describes  the  way  to  build  the  mill 
structure,  and  gives  also  a  description 
of  the  gearing  necessary  for  utilising 
the  power  within  the  workshop. — Ed.] 
Fire  Hand  Grenades. 

0.  H.  PritchArd  writes : — "  Can  any 
fellow-amateur   kindly    inform  me   of 
the  composition  of  the  liquid  contained 
in  fire  hand  grenades  ?  " 
Fluor  Spar. 

F.  B.  M.  (St.  Leonards)  writes: — 
"  Can  any  of  your  contributors  tell  me 
where  to  get  fluor  spar,  as  I  cannot  get 
any  here  or  in  Hastings." 

Replies  Devoid  of  General  Interest. 

C.  Baldock. — The  formation  of  a 
department  euch  as  you  propose  would 
no  doubt  be  a  good  idea,  but  at  present 
it  is  somewhat  impracticable.  In  the 
first  place,  the  members  of  such  a 
department  being  competent  men, 
would  expect  to  receive  good  salaries, 
but  I  fear  their  remuneration  would  be 
rather  precarious  if  it  is  only  to  be 
derived  from  the  fees  of  the  few  who 
are  anxious  to  have  professional  opinion 
regarding  their  work. 

Prize  Competition. 

Mr.  George  Pirie,  the  winner  of  the 
prize  in  Competition  VI.,  writes  to  say 
that  he  received  the  lens,  which  gave 
him  every  satisfaction. 

W.  H.  Bradbuune,  who  won  the 
second  prize  in  Competition  VI., 
writes  : — "  I  yesterday  (March  19th) 
received  the  prize  of  Vevers'  photo 
roller  burnisher,  with  thanks.'* 


LETTERS  RECEIVED  UP  TO  APR.  13. 

H.  J.;  C.  E.  L.;  T.  H.  Milne;  R. 
A.  A.  Bennett  ;  A  Header  ;  K.  A, 
Baxter  ;  J.  J.  Wells  ;  B.  S. 


PRESENTED    WITH    "AMATEUR    WORK,    ILLUSTRATED,"    PART   XXXI.       JUNE,    1891. 


Scale  2  "to  a  Foot 


£de.Roc9r 


WARD,   LOCK  &  C 


<    HOUGE.  SALISBURY   SQUARE,    I 


PRESENTED     ¥ 


tbf 


WARD,    LOCK   &   CO.,   WARWICK    HOUSE,  SALISBURY  SQUARE,    Is 


A   STOVE   SCREEN  AND   MUSIC-HOLDER   IN  BAMBOO. 


313 


STOVE   SCREEN  AND  MUSIC- 
HOLDER  IN  BAMBOO. 

By  ELECTS  OX. 


HESE  two  articles  will  form  excellent 
practice  for  the  amateur  worker  in 
bamboo,    and    when    finished   are    a 

very   useful   addition  to   the   furniture   of   the 

house. 


to  a  width  of  12  inches;  fix  a  piece  of  f-  inch 
bamboo  across  to  stay  them.  Then  bore  holes 
in  them  for  the  cross  rails,  and  having  cut  the 
cross  rails  to  the  length,  fix  them  4  inches  apart 
by  pieces  of  f  inch  bamboo,  as  shown,  and  fix 
them  to  the  uprights,  being  careful  to  keep 
them  parallel  and  square.  Then  fix  the  two 
angular  stays  at  the  underside  to  the  feet. 
Also  make  the  handle  of  f  inch  bamboo,  with 
§  inch   rails   underneath,  as  shown.     Fix  two 


FIG.  I.— A   STOVE  SCREEN. 


The  first,  a  stove  screen,  is  useful  to  hide  the 
grate  in  the  summer  months,  when  a  fire  is  not 
required.  Fig.  1  shows  the  screen  complete; 
the  height  is  3  feet  6  inches,  and  the  width 
22  inches.  It  is  shown  with  a  glass  panel  or 
mirror  painted  with  birds  and  flowers,  or  it  may 
be  filled  with  needlework  stretched  on  a  light 
frame,  or  with  leaded  glass  of  various  tints. 

The  method  of  making  the  joints  is  fully 
described  in  the  January  No.  of  Amateur 
Work,  page  90,  and  need  not  be  repeated  here. 

The  uprights  and  cross  rails  are  lj  inches 
diameter.  Fix  the  feet  on  the  uprights  as  shown, 
making  the  feet  10  inches  long,  and  opened  out 

Vol.  III.  (New  Series).— Part  31. 


FIG.  2. — A  MUSIC-HOLDER. 

short  pieces  projecting  from  the  top  cross  rail, 
as  shown,  and  cover  all  the  projecting  ends  with 
turned,  or  cut  circular  pieces  of  wood,  stained 
the  colour  of  the  bamboo,  and  varnished.  The 
glass  is  held  in  by  narrow  strips  of  bamboo, 
nailed  or  fixed  with  small  screws  at  each  side. 

The  second  article  is  a  receptacle  for  music 
that  is  in  frequent  use ;  it  is  shown  complete  in 
Fig.  2;  the  length  is  19  inches,  the  width  13 
inches,  and  the  height  18  inches.  As  will  be 
seen  from  the  drawing,  the  legs  are  bent  out- 
wards at  the  bottom  ;  they  must  be  boiled  or 
steamed  till  soft,  and  having  a  piece  of  wood 
cut  to  the  curve,  and  fixed  on  a  board,  cramp 
vol.  m.  (U.S.) — c  c 


314 


AMATEUR    CONJURING. 


the  legs  to  it  while  soft,  and  let  them  remain 
till  cold,  when  they  will  set  in  that  form. 
The  side  frames  are  first  fixed  together,  making 
the  depth  1 0  inches  ;  then  prepare  the  two  end 
frames  with  their  uprights,  as  shown,  and  fix  the 
whole  together,  being  careful  to  keep  them 
square ;  then  make  a  bottom  of  f  inch  pine, 
chamfer  the  under  edge,  and  fit  it  neatly  in, 
and  nail  with  fine  wire  nails ;  then  fix  the  two 
sets  of  cross  stays  in  the  inside,  jointing  them 
together  before  fixing  them  ;  these  will  serve  as 
divisions  to  each  compartment,  and  will  also 
keep  the  whole  thing  firm  and  steady. 

The  bottom  of  the  legs  should  be  cut  off 
straight,  and  the  holes  plugged  up.  The 
projecting  tops  of  the  legs  should  also  have 
turned  discs  of  wood  fixed  on  them,  stained 
the  colour  of  the  bamboo,  and  varnished. 
Also  stain  the  pine  bottom,  and  varnish  it. 

In  order  to  avoid  boring  so  many  holes  in 
the  cross  rails,  the  upright  rails  in  the  centre 
may,  after  being  hollowed  at  the  ends  to  fit 
the  cross  rails,  have  a  wooden  plug  glued  into 
them,  and  fixed  by  a  long  wire  nail  driven 
through  the  cross  rails,  the  heads  being  punched 
down,  and  covered  with  dark-coloured  putty. 

The  bamboo  should  all  be  about  1  inch 
in  diameter. 


AMATEUR    CONJURING. 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 
By  A.  HARLEY. 


VII. — Illusion  (continued). 
^SOW  cut  your  wood  to  fit  in  the  back. 
You  may  put  another  cross-bar  (q, 
Fig.  22),  as  shown  by  the  lines. 
Kabuet  both  the  top  and  bottom  of  this  bar. 
Now  place  your  backing  in,  in  such  a  manner 
that  you  have  one  piece  in  the  centre,  as  near  as 
possible.  Now  fasten  all  the  rest  of  the  pieces 
in,  except  this  one.  You  will  next  want  two 
pieces  of  iron  or  brass,  in  the  same  shape  as  Fig. 
23.  Plane  and  true  up  the  edges  of  the  one 
board  left  out.  (The  board  must  be  wide 
enough  to  allow  a  person  to  pass  through  the 
hole).  The  middle  cross-bar  must  not  be  mor- 
tised  in,  but   only  halved,  like    Fig.  24,    and 


the  posts  halved  also,  to  let  it  slip  in.  Next 
get  your  board,  and  countersink  the  brass  pivots 
in  each  end,  as  in  Fig.  25.  Then,  in  the 
rabbet,  at  the  top  and  the  bottom,  put  an- 
other piece  of  brass,  for  the  pivots  to  work  in, 
as  seen  in  Fig.  25a,  and  at  the  bottom  of  the 
door,  at  the  opposite  end  to  which  the  pivot  is, 
another  piece  of  brass  with  a  hole  in  the  same, 
as  Fig.  25a.  This,  if  you  like,  may  be  omitted  ; 
but  I  do  not  advise  it,  as  the  little  extra  trouble 
pays  for  itself  in  the  end.  Now  fit  the  door  in 
the  cross-bar,  and  put  the  bar  in  its  place,  fitting 
the  brass  pivots  into  their  sockets ;  and  when 
the  door  is  hung,  make  a  mark  on  the  bottom 
cross-bar,  where  the  secret  catch,  which  pre- 
vents the  door  from  being  opened,  except  by 
anyone  in  the  secret,  comes  through  the  bottom 
of  the  cross-piece,  and  holds  the  door  in  its 
place.  Now  for  the  catch.  You  will  require  a 
piece  of  brass  of  the  shape  of  a,  Fig.  26,  another 
piece  like  b,  and  another  like  o.  You  will  see 
the  action  by  looking  at  the  drawing.  On  the 
end  of  the  piece  a  being  pushed  up,  the  piece  b, 
being  pivoted  in  the  centre,  will  be  drawn  down, 
drawing  the  bolt  with  it.  You  will  be  obliged 
to  cut  a  piece  from  out  of  the  wood,  to  admit  of 
the  spring  catch  being  let  in.  Then  place  the 
wood  back  in  the  place  whence  it  came,  after 
cutting  it  so  that  it  does  not  interfere  with  the 
working  of  the  catch.  The  operator  will  not 
require  to  use  it  from  the  inside — only  the  out- 
side. Now  the  most  delicate  part  of  the 
proceedings  comes  to  the  front ;  that  is,  the 
mirrors.  I  cannot  give  dimensions,  as  you  may 
want  to  make  your  cabinet  larger  than  this,  or 
perhaps  smaller.  They  must  be  the  same  size 
as  the  side  of  the  cabinet.  By  the  bye,  the 
drawing,  Fig.  16,  shows  the  cross-pieces  on  the 
sides,  whereas  the  cross-pieces  are  inside,  by  the 
performer,  and  only  dummy  pieces  are  there. 
After  you  have  measured  the  mirrors,  and  have 
got  them  home  safely,  lay  them,  face  downwards, 
on  a  smooth,  flat  surface.  It  must  be  very  flat. 
Then  get  some  veneer,  and  glue  it  all  over  the 
back  of  the  mirrors,  so  that  when  they  are  fixed, 
the  audience  will  think  they  see  the  sides  of 
the  cabinet,  whereas  they  only  see  the  backs 
of  the  mirrors. 

Now  glue  a  rather  thick  piece  down  the  side, 


AMATEUR    CONJURING. 


315 


by  which  you  intend  to  hinge  the  mirrors  to  the 
sides.  Cut  a  piece  out  of  the  wood,  so  as  to 
countersink  the  hinges,  and  then  put  a  piece  of 
wood  on  top  of  the  hinge,  so  as  to  hide  it. 

As  soon  as  you  have  fixed  the  niirrors,  open 
them  out,  and  mark,  on  the  floor  of  the  cabinet, 
the  place  where  they  meet.  I  forgot  to  say  that 
a  small  semicircular  piece  must  be  cut  out  of 
each  outside  edge  of  the  mirrors,  so  that  the 
head  of  the  performer  may  come  through.     I 


the  curtain  rises,  and,  in  a  few  words,  tells  them 
"  how  it  is  done  "  (sic),  as  he  generally  most 
obligingly  does,  and  then  steps  forward  and 
throws  open  the  doors  of  the  cabinet,  and  invites 
the  people  (I  beg  pardon,  I  mean  audience)  to 
investigate  it.  They  do  so,  and  are  quite  satis- 
fied. (They  will  be,  if  the  cabinet  is  made  so 
that  they  cannot  discover  anything).  Tou  then 
close  the  cabinet,  and,  as  you  stand  in  front,  to 
lock  the  doors,  the  confederate  steps  through 


FIG. 23. 


K"  ! 


I 


■* — ' 


FIC.26 


FIG.  23.  — BRASS  PIVOT  FOR  SECRET  DOOR.  FIG.  24. 
— METHOO  OF  JOINING  CROSS-BAR  TO  UPRIGHT. 
FIG.  25.— SHOWING  PIVOT  FIXED  IN  DOOR.  FIG. 
25A.  —  SOCKET  FOR  PIVOT.  FIG.  26.  — BOLT 
WHICH  HOLDS  SECRET  DOOR.  FIG.  27. — STAND 
FOR  HEAD.  THE  BASE  OF  THIS  IS  12  INCHES  BY 
3  INCHES  HIGH  ;  AND  PARTS  MARKED  AA,  SLIDE 
WITHIN  B  B,  TO  ADMIT  THE  BOTTOMS  OF  THE 
MIRRORS. 


hope  that  I  am  explaining  the  matter  to  the 
satisfaction  of  all  concerned,  because,  as  I  am 
only  giving  the  skeleton  of  the  idea,  and  leaving 
the  amateur  to  mould  it  to  his  own  requirements, 
I  do  not  want  to  write  about  nothing,  as  some 
authors  do. 

The  foot  of  the  pillar  must  be  made  so  that  a 
quarter  or,  rather,  a  third  of  it  will  slide  back, 
and  hold  the  mirrors  in  their  places.  (See  Fig. 
27  for  measurements  and  particulars.)  I  think 
I  have  now  finished  all  the  details  of  the  work, 
and  will  give  a  few  hints  as  to  the  performance 
of  the  illusion.     The  professor  steps  forward,  as 


Fl  G.25.A 


the  trap  at  the  back,  looses  the  catches  which 
hold  the  mirrors  in  place,  opens  the  mirrors, 
and  places  his  head  through  ;  gives  you  a  signal 
that  all  is  ready,  and  you  throw  open  the  doors 
— and  there  you  are.  In  asking  the  head  ques- 
tions, do  not  dwell  too  long  on  one  subject,  as 
the  audience  is  apt  to  get  tired  if  you  do. 
Avoid  all  grave  subjects,  and  try  and  get  a  few 
original  witty  dialogues  up.  Don't  use  those 
that  you  heard  the  niggers  (I  mean  Ethiopian 
minstrels)  at  the  seaside  use,  as,  however  good 
the  wit,  if  one  has  heard  the  same  before,  it  does 
not  seem  to  go  down   well.     With  these  few 


316 


PRACTICAL    ORGAN  BUILDING. 


hints,  I  hope  the  illusion  will  go  oft'  successfully  ; 
and  any  difficulty  that  may  occur  I  shall  be 
happy  to  smooth  over,  to  the  best  of  my  ability, 
in  "  Amateurs  in  Council."  Should  I  hear  of 
any  one  being  successful,  I  shall  be  satisfied 
that  I  have  not  written  for  nothing ;  and  if  you 
think  your  idea  is  better  than  mine,  why  "  trot 
it  out,"  as  the  Yankees  say,  and  I  shall  be 
happy  to  see  it. 


PRACTICAL  ORGAN  BUILDING. 

By  AN  ORGAN  BUILDER. 


V. — Metal  Pipes. 

HE  prices  on  a  professional  metal  pipe 
maker's  list  might  lead  one  to  think 
that  his  charges  for  the  various  stops 
are  on  somewhat  of  a  larger  scale  than  most 
people  are  inclined  to  agree  with.  The  amounts 
quoted,  however,  are  not  extraordinary  when  it 
is  taken  into  consideration  that  the  price  has  to 
cover  the  cost  of  metal  of  good  composition  and 
substance,  the  time  of  the  workman  who  makes 
the  pipes,  and  the  superior  skill  of  a  first-class 
voicer  who  puts  the  finishing  touch  on  each 
separate  note  when  made.  A  goodly  number 
of  metal  men  are  divided  throughout  the 
country,  but  the  best  are  found  in  London.  A 
stop  hailing  from  this  part  is  a  sort  of  guarantee 
for  its  good  quality  of  tone  and  workmanship. 

In  the  following  notes  I  intend  to  describe 
the  varieties  of  both  flue  and  reed  metal 
pipes,  giving  some  idea  as  to  the  construction, 
but  leaving  the  more  minute  details  for  a 
later  chapter. 

The  flue  pipes  comprise  those  of  wood  and 
metal,  where  the  sound  is  caused  simply  by  the 
disturbance  of  a  column  of  air  inside  each  tube. 
The  other  section  is  filled  in  with  pipes,  all 
supplied  with  a  reed  and  a  tongue  of  thin  brass, 
to  vibrate  on  a  prepared  surface,  which  motion 
produces  the  sound.  In  flue  work,  the  speak- 
ing length  of  each  note  depends  on  the  cubical 
contents  of  the  pipe,  and  the  body  must  be  of  a 
certain  length  to  produce  the  required  note.  A 
pipe  with  a  large  diameter  will  produce  a  full 
round  tone,  but  will  be  much  shorter  than  the 


smaller  scaled  stop,  from  which  a  softer,  purer 
quality  proceeds.  This  will  account  for  the 
differences  of  length  of  Figs.  54  to  60  and  62. 
These  pipes  all  produce  the  same  note,  middle 
C1.  With  the  exception  of  Fig.  62,  they  all 
belong  to  the  8  feet  tone  open  series  of  organ 
pipes.  The  exception  is  a  C*  of  a  lieblich 
gedact,  8  feet  tone  stopped.  These  diagrams 
represent  the  largest  and  smallest  relative  scales 
of  metal  pipes  ;  that  means,  supposing  the 
open  diapason  is  a  certain  size,  the  remainder  of 
the  stops  should  be  so  many  sizes  smaller. 

With  reeds,  however,  the  theory  is  somewhat 
different.  The  speaking  length  of  a  pipe 
depends  mostly  on  the  distance  that  the  tongue 
and  reed  project  beyond  the  block.  Take,  for 
instance,  2  feet  0,  that  is  C'  of  the  open 
diapason ;  the  actual  length  would  be  22£ 
inches,  whereas,  in  the  posaune,  the  largest 
scale  of  8  feet  tone  reed  pipes,  the  same  noto  is 
2  inches  shorter.  In  large  reed  stops,  such  as 
the  double  trumpet,  double  bassoon,  and 
contra  fagotto  (all  16  feet  reeds),  where  the 
pipes  are  placed  on  the  manual  soundboards, 
the  body  is  no  more  than  half  the  standard 
length  for  the  lowest  octave,  but  the  tongues 
would  project  much  further  than  they  would  do 
if  the  tops  were  longer.  Other  instances  of  the 
body  of  the  pipes  having  no  particular  bearing 
with  regard  to  speaking  lengths  of  reed  work, 
occur  with  the  clarionet  and  vox  humana. 
The  length  of  the  tube  of  the  former  is  13f 
inches,  and  the  latter  5^  inches  at  C'.  The 
distinctive  qualities  of  reed  tone  are  regulated, 
in  a  great  measure,  by  the  width  and  thickness 
of  the  tongues;  a  broad,  thick  tongue  gives 
forth  a  full  round  tone,  while  the  plaintive, 
quiet  sounds,  so  much  admired  by  those  who 
take  an  interest  in  organ  matters,  are  alone 
obtainable  from  pipes  with  tongues  of  less 
substance. 

There  is  no  law  laid  down  to  denote  the 
scales  of  the  different  organ  stops,  two  builders 
seldom  using  the  same  measurements.  The 
drawings  I  give  are  copies  of  my  working  scales 
of  the  pipes  they  represent.  These  are  medium 
size  pipes,  and  might  be  used  for  instruments 
of  much  larger  dimensions  than  the  one  now  in 
progress.     Should  they  be  required  to  produce 


PRACTICAL    ORGAN  BUILDING. 


317 


y 


FIG.S4.       FIC.5S. 


u.r 


m 


u 

FIG.56     FIG.57.     FIG.58.FIC.59.FIG.60.F1G.6I.FIG.62.FIG.63.FIG.64.      FIG.65.     FIC.66.  FIG.67  FIG.68  FIG.69 

il-r      7fT      jfr    ipr    ifr    ipr     ipr     ipr    )pi       ipr       ?pr    ifr     ipi    ipr 


F\0.53Mlfstv 


2s 


FIG. 52. 
Halfsae 


FIG.7!. 
Jfalf  sue 


FIG.70. 
Jhlfsae 


318 


PRACTICAL   ORGAN  BUILDING. 


a  louder  tone,  a  gentle  opening  of  the  aperture 
in  the  foot  will  be  all  that  is  required.  A 
greater  supply  of  wind  will  then  ascend  into 
the  pipe. 

Metal  flue  work,  as  it  is  most  frequently  met 
with,  may  be  divided  into  three  classes- 
cylindrical,  conical,  and  conical  with  a  bell 
attached  to  the  top.  The  first  is  represented  by 
the  open  diapason,  gamba,  salcional,  dulciana, 
lieblich  gedact,  of  8  feet  tone  and  octave, 
principal,  harmonic  flute,  lieblich  flute,  fif- 
teenth, flageolet,  and  all  ranks  of  mixtures 
of  four  and  less  feet  tone.  The  spitz  flute,  8 
and  4  feet  gemshorns,  and  cone  gamba,  are 
conical,  and  the  viol  de  gamba,  bell  gamba, 
and  horn  diapason,  are  forms  of  the  third  class. 

All  metal  flue  pipes  have  a  body,  foot, 
languid,  and  two  ears.  Without  any  of  the 
three  former,  it  would  be  impossible  to  make 
the  speech.  The  ears  are  adjusted  to  small 
scaled  pipes  throughout  the  stop,  and  to  those 
of  larger  sizes,  when  over  one  foot  in  length. 

So  as  to  enable  the  reader  to  form  some  idea 
as  to  the  construction  of  a  metal  pipe,  I  will 
describe  the  processes  through  which  the  middle 
C  of  the  open  diapason  would  pass.  The  metal 
having  been  already  cast  and  planed  over,  a  piece 
is  cut  out,  1  inch  longer  than  size  given  at  Fig. 
50,  and  6|  inches  wide.  The  edges  and  ends 
are  shot  straight,  and  the  latter  square.  This 
piece  makes  the  body.  A  piece  is  cut  out  of 
one  end  the  width  of  %  of  the  circumference, 
and  J  of  that  distance  in  height,  to  form  the 
mouth.  The  outside  edges  and  bottom  end  are 
planed  on  a  slight  bevel.  This,  and  \  inch  of 
the  metal,  is  covered  with  a  mixture  of  glue, 
water,  and  whitening,  and  left  to  dry;  The  foot 
is  then  cut  out  of  a  sheet  a  trifle  thicker  than 
the  body,  and  shaped  like  Fig.  51.  The  top 
end  and  the  edges  are  served  in  a  similar  way 
to  those  of  the  body.  The  larger  piece  is  rolled 
round  a  mandrel,  a  little  larger  than  the 
diameter  of  the  pipe.  The  bevelled  edges  are 
then  cleared  of  the  whitening,  greased  with  a 
tallow  candle,  or  covered  with  a  solution  of 
muriatic  acid ;  and,  with  the  edges,  held  quite 
close  together  on  a  smaller  mandrel,  a  straight 
soldered  joint  is  formed  down  the  back.  The 
foot  is  rolled  on  a  conical  mandrel,  and  soldered 


down  the  back  in  the  same  way  as  the  body. 
A  piece  of  metal  is  then  cast,  so  as  to  finish  £ 
inch  thick  when  finished,  and  cut  into  pieces 
like  Fig.  53.  This  is  the  languid.  It  is 
chamfered  down  all  the  way  round,  on  the 
topside  only,  and  covered  with  whitening. 
The  front  is  left  quite  sharp  and  straight. 
Fig.  53a  is  a  section  of  this  piece  ;  f  is  the 
front.  The  ears  are  cut  out  of  rather  stouter 
metal  than  the  body,  and  shaped  like  Fig.  52, 
with  the  back  outside  edge — that  is,  the  longer 
edge — bevelled,  and  the  whole  of  it  is  whitened. 
The  bottom  end  of  the  front  of  the  body,  where 
the  piece  has  been  cut  out,  and  the  top  end  of 
the  front  of  the  foot,  are  then  made  flat  with  a 
burnisher,  on  a  conical  shaped  mandrel  with 
a  flat  side,  to  make  an  elongated  half  of  a 
diamond  on  each.  The  component  parts  are 
now  ready  for  connection.  The  whitening  is 
carefully  cleaned  off  all  round  the  bevelled 
surface  of  the  languid  and  the  top  of  the  foot, 
and  with  the  former  laid  flat  on  the  latter ;  a 
soldered  joint  is  made  to  hold  them  together, 
so  that  the  flat  places  correspond  exactly  with 
one  another.  The  lower  end  of  the  body  is 
cleaned  and  fastened  to  the  foot  all  round  the 
bevel,  with  the  mouth  coming  exactly  over,  and 
parallel  with  the  front  edge  of  the  languid. 
One  ear  is  fastened  to  the  body  and  foot  at  each 
side  of  the  mouth.  The  bottom  end  of  the  foot 
is  then  closed  up  with  a  brass  tuner,  or  knock- 
ing-up  cup,  so  as  to  leave  an  aperture  tl  inch  m 
diameter.  When  the  whitening  is  washed  off 
all  over,  the  pipe  is  ready  for  the  voicer.  The 
composition  is  put  on  to  the  metal  to  prevent 
the  solder  holding  to  any  other  part  of  the  pipe 
but  the  bevelled  edges.  Fig.  54  is  a  front  view, 
and  Fig.  55  is  a  section  of  the  note,  thus  far 
completed. 

Conical  pipes  are  made  on  variously  shaped 
mandrels,  as  their  sizes  require.  The  expensive 
tools,  already  alluded  to,  used  by  metal  men, 
are  a  casting  bench,  planes,  a  different  sized 
mandrel  for  every  other  pipe,  and  different  sizes 
of  knocking-up  cups  and  cones. 

Figs.  56  to  63  are  diagrams  of  the  front  view 
of  middle  C1,  of  the  varieties  of  metal  stops 
frequently  met  with  in  organs  of  all  sizes.  I 
shall  just  touch  on  their  names  and  quality  of 


PRACTICAL   ORGAN  BUILDING. 


319 


tone,  and  the  relative  scales  with  that  of  the 
open  diapason. 

Fig.  56  is  the  viol  de  gamha,  nine  scales 
smaller,  producing  a  fine  stringy  quality.  The 
top  of  the  bell  is  the  same  diameter  as  the  pipe 
at  the  mouth,  and  the  bottom  two-thirds  of 
that  measurement.  The  ears  are  made  of  thin 
metal,  and  project  f  inch  to  allow  for  the  tuning 
of  the  pipes. 

Fig.  57  is  the  cone  gamba,  four  scales  smaller 
than  the  open,  the  diameter  of  the  top  one-third 
that  of  the  mouth  ;  quality  pure  and  round, 
with  a  tendency  towards  reediness. 

Fig.  58,  a  slotted  gamba,  eight  scales  smaller 
than  the  diapason,  gives  a  pungent  reedy  note, 
softer  than  the  two  former  pipes  of  the  same 
name  ;  a  very  useful  stop,  both  in  accompani- 
ment and  solo  work  alike.  The  slide,  a,  is  made 
of  tin,  fitting  close  to  the  pipe,  to  facilitate  the 
tuning  of  the  note,  by  raising  or  lowering  it,  as 
it  may  require. 

From  the  keraulophon  (Fig.  59),  10  scales 
smaller  than  the  open,  we  get  a  rather  more 
subdued  quality  than  the  gamba  series,  but  it 
retains  a  certain  amount  of  the  distinct  reedy 
tone  produced  by  those  stops.  A  movable 
slide,  a,  is  fitted  to  each  pipe,  with  a  hole  bored 
through  the  front,  as  shown  in  the  sketch.  The 
salcional  is  made  the  same  size  as  this  stop, 
without  the  slide. 

Fig.  60  represents  the  dulciana,  11  sizes 
smaller  than  Fig.  54,  the  smallest  scaled  metal 
stop  made.  The  tone  is  beautifully  pure  and 
cold,  but  with  the  slightest  tinge  of  reedy 
quality  with  it.  The  vox  angelica  and  vox 
celeste  are  made  from  this  scale,  only  the 
voicing  is  different. 

The  harmonic  flute  (Fig.  61)  sounds  an 
octave  higher  in  pitch,  is  five  scales  smaller,  but 
the  same  length  as  the  open  diapason.  The 
hole  in  the  middle  causes  the  pipe  to  blow  its 
octave,  and  makes  the  quality  of  the  note  very 
wild  but  distinct. 

The  lieblich  gedact,  Fig.  62,  belongs  to  the 
stopped  metal  series,  which  produces  a  soft 
hooting  quality,  strongly  resembling  the  flute. 
It  is  nine  sizes  smaller  than  the  open.  A 
lieblich  flute  is  made  from  this  scale  an  octave 
higher. 


Fig.  63  is  a  pipe  of  a  4  feet  gemshorn, 
conical  in  shape  ;  diameter  at  the  top,  one  half 
that  of  the  mouth  ;  the  tone  bright  and  clear, 
and  rather  softer  than  other  metal  stops,  such 
as  the  principal  and  octave  (smaller  sizes  than 
the  octave  higher  of  the  open  diapason).  An 
8  feet  gemshorn  would  be  twice  the  size  of 
Fig.  63. 

We  now  come  to  the  reeds.  Figs.  70  and  71 
are  drawings  of  the  block  of  a  middle  C  of  the 
posaune.  They  are  drawn  full  size,  to  show  the 
various  parts  more  distinctly.  The  letters  cor- 
respond with  one  another  in  both  instances. 
The  block,  a,  is  cast  solid  in  a  mould,  and 
finished  with  a  float,  or  turned  in  a  lathe,  b  is 
the  reed,  shaped  hollow  by  turning  a  piece  of 
fiat  sheet  brass  round  an  iron  pin,  closing  in  one 
end,  and  a  flat  place  made  the  length  of  the 
front.  c  is  a  tongue  of  hard  brass,  which 
vibrates  on  the  faced  surface  of  the  reed,  and  is 
held  in  its  place  by  a  wooden  wedge,  d  ;  e  is  a 
contrivance  called  the  spring.  This  is  curved, 
as  shown  in  the  drawings,  so  that  on  one  end 
there  is  a  transverse  piece  of  wire,  which  is 
placed  across  the  tongue.  Feed  pipes  are  tuned 
by  the  knocking  up  or  down  of  this  spring.  Its 
effect  is  to  lengthen  or  shorten  the  speaking 
distance  of  the  tongue,  as  the  pipe  may  require 
to  be  made  flat  or  sharp.  In  Fig.  71  the  spring 
is  shown  shorter  than  its  actual  length,  to  allow 
the  cambre  (as  the  curve  is  called)  of  the  tongue 
to  be  more  clearly  seen. 

The  brass  reeds  are  divided  into  two  sections, 
open  and  closed.  Fig.  72  is  the  C  C  reed  of  the 
former  class,  and  Fig.  73  the  same  note  of  the 
latter.  Closed  reeds  are  only  used  for  the  more 
refined  qualities,  such  as  the  oboe,  bassoon, 
and  sometimes  the  clarionet.  Open  reeds  occur 
in  the  pipes  of  the  horn,  posaune,  trumpet, 
cornopean,  and  clarion.  Fig.  74  represents  the 
tongue  for  Fig.  72 — the  thickness  would  be 
No.  24  wire  gauge  ;  and  Fig.  75,  the  tongue  of 
a  0  C  oboe,  No.  20  wire  guage.  The  reed  of 
the  former  would  project  beyond  the  block 
4J  inches,  the  spring  be  placed  across  it  'i\ 
inches  from  the  end,  and  the  length  of  body  7 
feet  3  inches.  The  body  of  the  latter  is  6  feet 
8  inches  in  length,  the  spring  across  the  tongue 
2f   from  the   end,   and  the  reed  would  be  3f 


320 


HOW  TO  MAKE   A   MODEL  ELECTRIC   CRANE 


inches  beyond  the  block.  Fig.  76  is  a  sketch  of 
the  smallest  reed,  and  a  is  the  tongue  for  that 
pipe.  These  would  be  used  for  the  top  A  of  the 
oboe.  The  body  is  1J  inches  long,  the  tune 
length  of  the  tongue  \  inch,  and  the  speaking 
length  of  the  same  \  inch.  Figs.  64  to  69  are 
drawings  of  middle  C  of  the  various  reed  stops. 
Fig.  64  is  the  horn  or  posaune,  producing  a 
loud,  firm  quality.  Fig.  65  is  the  cornopean 
and  trumpet,  the  former  giving  a  sombre  tone 
like  that  of  the  French  horn  in  a  brass  band, 
and  from  the  latter  a  clear,  ringing  sound  is 
obtained.  Fig.  66  is  the  oboe,  the  most  deli- 
cate quality  of  reed  pipes.  This  stop  produces 
a  beautifully  clear  and  distinct  sound,  and, 
when  nicely  voiced,  it  closely  resembles  the 
instrument  from  which  it  takes  its  name.  The 
shades  on  the  top  regulate  the  quantity  of  tone 
that  each  note  has  to  send  out.  Fig.  67  belongs 
to  the  clarionet.  Unlike  other  reeds,  the  body 
is  cylindrical.  When  well  made,  it  is  a  better 
imitation  of  the  orchestral  instrument  than  any 
other  of  the  reed  series.  The  great  difficulty 
lies  in  the  voicing.  Fig.  68  is  the  middle  0  of  a 
clarion,  four  feet  tone.  The  scale  is  smaller 
than  the  horn,  an  octave  higher,  but  larger 
than  the  trumpet.  The  tone  is  bright  and 
loud.  Fig.  69  belongs  to  the  vox  humana. 
The  tongue  is  wide  and  thick,  and  the  metal  for 
the  body  is  of  stouter  substance  than  any  of  the 
former  instances.  The  tube  is  only  five  inches 
long,  and  at  C  C,  although  sounding  8  feet 
tone,  the  bod}'  is  no  more  than  9  inches  in 
length.  The  tone  is  somewhat  more  nasal 
than  the  human  voice,  but  in  some  cases  a 
very  striking  resemblance  is  portrayed.  This 
concludes  the  description  of  metal  pipes. 

I  have  rather  deviated  from  the  practical 
part  of  the  work ;  but  to  anyone  following 
organ  matter,  the  stops  and  varieties  of  tone 
would  be  first  brought  under  their  notice; 
therefore  this  description  is  fully  given,  in  case 
the  amateur  elect  to  extend  his  operations.  It  is, 
however,  very  rarely  that  an  instrument  will 
contain  all  these  specimens  of  reed  and  flue 
work  unless  they  contain  sixty  stops  at  least, 
and  I  fancy  that  rnany  will  be  satisfied  to  stay 
at  a  smaller  task  than  that.  In  the  next  chapter 
we  return  to  the  construction  of  our  organ. 


HOW    TO    MAKE    A    MODEL 
ELECTRIC  CRANE. 

By  ROBERT  Jr.  COLE. 


II. — Motors — Starting  and  Stopping  Levers — 
Connections— Painting — Conclusion. 

E  may  now  proceed  to  the  construction 
of  the  electro-motor,  and  the  drum 
on  which  the  cord  is  wound.  Two 
electro-motors  will  be  required — one  for  wind- 
ing the  cord  up,  and  the  other  for  unwinding  it. 
Fig.  7  is  a  section  of  the  two  electro-motors, 
and  the  drum ;  a  a  are  the  two  electro-motors, 
which  are  both  fixed  on  the  same  axle ;  b  is  the 
drum,  which  is  placed  between  the  two  electro- 
motors, and  which  should  be  two  inches  long, 
and  about  \  inch  diameter ;  e  e  are  the  two  ends 
of  the  axle,  which  should  project  about  \  inch, 
and  revolve  in  the  bearings  c  c,  which  are 
made  in  the  same  manner  as  those  made 
for  the  wheels  of  the  truck  of  the  crane.  The 
two  bearings  are  fixed  on  to  a  piece  of  wood  (d) 
about  £  inch  thick.  In  Fig.  7  the  two  electro- 
motors are  represented  by  cylinders,  and  may  be 
either  small  dynamos  or  the  kind  of  motor 
known  as  Froment's  electro-magnetic  engine. 
The  electro-magnets  are  omitted  in  the  figure, 
since  their  position  varies  according  to  the  kind 
of  motor  used.  Each  of  the  electro-motors 
should  not  be  more  than  .'J  inches  wide,  but  they 
may  be  of  any  diameter.  The  axle  to  which  the 
two  motors  are  fixed  can  be  of  iron  or  brass, 
and  must  be  about  \  inch  in  diameter,  9  inches 
long ;  and  its  two  ends,  for  about  \  inch  in 
length,  should  be  turned  down  smaller  than  the 
rest,  so  that  they  will  fit  iuto  the  supports,  c  o 
(Fig.  7).  These  must  be  shaped  as  seen  in  Fig. 
8,  and  should  be  dovetailed  into  the  ends  of  the 
piece  of  wood,  d  (Fig.  7),  and  firmly  fixed  with 
glue  or  screws,  after  the  motor  has  been  in- 
serted between  them.  The  drum  should  be 
made  of  boxwood,  and  must  be  \  inch  wide  at 
its  two  ends,  \\  inches  long,  slightly  narrower 
in  the  middle,  and  must  be  firmly  fixed  on  the 
axle,  between  the  two  motors.  "When  fixing 
the  two  motors  in  their  places  on  the  axle,  fix 
them  in  such  a  position  that  when  a  current  of 
electricity   is  passed  through   them,    they   will 


HOW  TO  MAKE  A    MODEL  ELECTRIC   CRANE. 


321 


tend  to  make  the  axle  and  drums  revolve  in 
contrary  directions ;  that  is  to  say,  when  the 
electric  current  is  passed  through  one  motor 
alone,  it  will  make  the  motor  revolve  in  one 
direction,  and  when  through  the  other  alone,  it 
will  make   the   drum   revolve   in  the  opposite 


the  position  indicated  by  c  (Fig.  6),  and  so 
arrange  it  that  the  drum  is  in  the  same  straight 
line  with  the  centre  of  the  platform  and  the  arm 
of  the  crane. 

The  necessity  of  having  two  electro-motors, 
and  consequently  the  trouble   of   constructing 


_Cl 


-O. 


-TJ & 

FIC.9. 


<=& 


FIG. 7. 


FIG. 11. 


-f^*^ 


H 


/> 


FIG. 10. 


FIG.  7. — SIDE  VIEW  OF  MOTOR  AND  DRUM  ;  A  A,  MOTORS  ;  B,  DRUM  ;  C  C,  SUPPORTS  OF  AXLE  ;  D,  PIECE  OF  WOOD  TO 
WHICH  SUPPORTS  ARE  FIXED  ;  E  E,  ENDS  OF  AXIS.  FIG.  8.  — SIDE  VIEW  OF  SUPPORTS  OF  AXLE  OF  MOTOR.  FIG.  9. 
STARTING  AND  STOPPING  LEVER.  FIG.  IO.— GROUND  PLAN  OF  STARTING  AND  STOPPING  LEVER  FIXED  TO  A  PIECE 
OF  WOOD,  AND  SHOWING  HOW  WIRES  FROM  MOTOR  AND  BATTERY  ARE  CONNECTED  TO  IT.  FIG.  II. — HOOK  BY 
MEANS  OF  WHICH  WEIGHTS  ARE  RAISED  BY  THE  CRANE.  FIG.  I2.--SH0WING  APPARATUS  USED  FOR  RAISING 
EXTRA  HEAVY  WEIGHTS.  FIG.  13. — SHOWING  MOTOR  FOR  TURNING  THE  PLATFORM  ROUND  ;  A,  MOTOR  I  B,  PINION 
WIRE  CONNECTED  WITH  THE  AXLE  OF  THE  MOTOR  \  C,  PLATFORM  ;  D,  CIRCULAR  PIECE  OF  WOOD  PLACED  BETWEEN 
THE  PLATFORM  AND  TOP  OF  THE  TRUCK  ;    E,  TOP  OF  THE  TRUCK  ;  F,  COG-WHEEL  FIXED  ON  TO  THE  TOP  OF  THE  TRUCK. 


direction.  This  is  necessary,  as  you  will  want 
the  electro-motor  to  both  wind  up  and  unwind 
the  drum.  Now  fix  the  piece  of  wood,  to  which 
the  electro-motor  is  fixed,  on  to  the  platform 
of    the   crane,    by  means   of    short  screws,  in 


them,  may  be  obviated  by  using  one  motor, 
having  two  commutators  attached  to  it ;  these 
two  commutators  being  so  adjusted  that  when 
the  electric  current  is  passed  through  one  of 
them,  the  motor  revolves  in  one  direction,  and 


322 


HOW  TO  MAKE   A    MODEL   ELECTRIC   CRANE. 


when  through  the  other  it  revolves  in  the 
opposite  direction.  I  cannot  very  well  describe 
here  how  these  commutators  are  made,  as  that 
would  necessitate  the  description  of  a  whole 
electric  motor ;  but  if  you  are  at  all  an  elec- 
trician, you  will  be  able  to  make  them  without 
any  difficulty. 

We  must  now  make  the  starting  and  stopping 
lever ;  that  is,  a  handle  which  is  moved  when  we 
want  to  start  or  stop  the  motor.  To  make  this, 
procure  a  piece  of  sheet  brass  §■  inch  thick,  \\ 
inches  long,  and  \  inch  wide,  round  off  its 
corners,  and  at  its  two  ends  drill  holes  \  inch  in 
diameter.  Into  one  of  these  holes  screw  a 
small  brass  handle,  having  one  end  pointed, 
and  make  this  pointed  end  project  slightly 
through  the  hole.  Prepare  a  piece  of  wood  2J 
inches  square  and  J-  inch  thick,  and  screw  this 
piece  of  brass  on  to  the  top  of  it,  near  to  one  of 
its  edges,  by  means  of  a  screw  passed  through 
the  hole  which  you  have  made  at  one  of  the  ends 
of  the  piece  of  brass,  and  make  the  screw 
slightly  loose,  so  that  the  piece  of  brass  can  be 
turned  round  without  difficulty.  The  pointed 
end  of  the  handle,  fixed  into  the  piece  of  brass, 
should  point  downwards,  and  should  nearly 
touch  the  surface  of  the  wood.  Now  procure 
two  brass  drawing  pins,  and  fix  them,  1  inch 
apart,  on  the  top  of  the  piece  of  wood,  and  in 
such  a  position  that  when  the  piece  of  brass  is 
turned  round,  the  point  of  the  handle  will  touch 
each  of  these  drawing  pins  in  turn.  Fig.  10  is 
a  ground  plan  of  this  piece  of  apparatus ;  a  is 
the  piece  of  brass,  b  is  the  handle  fixed  to  it, 
and  c  and  d  are  the  two  drawing  pins.  The 
piece  of  wood  must  then  be  fixed  on  the  top  of 
the  platform  by  two  screws,  and  in  a  position 
somewhere  between  the  centre  of  the  platform 
and  the  electric  motor. 

"We  must  now  make  the  connections  between 
the  battery,  starting  lever,  and  motors.  Pro- 
cure two  very  small  binding  screws,  and  fix  them 
on  to  the  piece  of  wood,  to  which  the  starting 
lever  has  already  been  fixed,  and,  by  means  of 
a  short  piece  of  brass  or  copper  wire,  connect 
one  of  these  binding  screws  with  the  screw 
which  fixes  the  piece  of  brass,  a  (Fig.  10),  down 
to  the  piece  of  wood,  g  h.  These  two  binding 
screws  are  represented  by  e  and  f  in  Fig.  10. 


Since  there  are  two  electro-motors,  and  each 
motor  has  two  wires  proceeding  from  it,  there 
will  be  altogether  four  wires  proceeding  from 
the  two  electro-motors.  Connect  one  wire  of 
each  motor  to  the  binding  screw,  e  (Fig.  10),  and 
connect  the  other  wire  of  one  motor  to  one  of 
the  drawing  pins,  and  the  second  wire  of  the 
other  motor  to  the  other  drawing  pin.  Be  very 
careful,  in  making  these  connections,  that  com- 
plete contact  is  obtained,  for  the  smallest 
particle  of  rust,  or  the  least  space  intervening 
between  two  conductors,  is  sufficient  to  interrupt 
the  passage  of  the  current  between  them ;  and 
before  connecting  the  wires  by  solder  or  other- 
wise, rub  their  ends  bright  with  some  fine 
sandpaper.  Too  much  attention  cannot  be  paid 
to  these  points,  as  neglect  of  them  is  a  very 
fertile  source  of  failure,  and  consequent  dis- 
appointment. 

Now  fix  two  binding  screws  on  the  outside  of 
the  truck  of  the  crane,  in  the  middle  of  one  of 
the  ends,  and  lead  cotton-covered  wires  from 
them  to  the  inside  of  the  truck,  from  thence 
through  the  hole  which  you  have  drilled, 
through  the  cylinder  of  boxwood,  represented 
by  b  b,  in  Fig.  3,  on  to  the  top  of  the  platform, 
and  then  fix  one  of  them  to  the  binding  screw,  e 
(Fig.  10),  and  the  other  to  the  binding  screw,  f. 
Wires  from  the  battery,  which  are  intended  to 
work  the  crane,  are  fastened  to  the  two  binding 
screws  which  have  been  fixed  on  the  outside  of 
the  truck,  and  on  turning  the  piece  of  brass  re- 
presented by  a,  in  Fig.  10,  or  the  starting  and 
stopping  lever,  as  we  now  call  it,  so  that  the 
point  of  the  handle  touches  one  of  the  drawing- 
pins,  the  motor  will  revolve  in  one  direction  ; 
when  it  touches  the  other  drawing-pin,  the  motor 
will  revolve  in  the  contrary  direction  ;  and  when 
it  touches  neither  of  the  pins,  the  motor  will  not 
revolve  at  all. 

Now  fix  the  arm  of  the  crane  in  its  place 
with  strong  glue,  and  still  further  secure  it  by 
one  or  two  screws  passed  through  the  socket  and 
the  end  of  the  arm  which  fits  into  the  socket. 
We  must  now  prepare  the  rope  and  hook  by 
which  the  goods  are  hauled  up  by  the  crane. 
Procure  an  iron  or  brass  ball  about  f  inches  in 
diameter,  drill  a  hole  right  through  its  centre, 
and  pass  through  it  about  three  yards  of  thin 


HOW  TO  MAKE   A   MODEL  ELECTRIC   CRANE. 


323 


string,  such  as  is  used  for  fishing.  To  one 
end  of  this  string  tie  a  small  brass  hook,  as 
is  shown  in  Fig.  11,  and  pass  the  other 
end  over  the  pulley  wheel  at  the  end  of  the 
pole,  and  tie  it  firmly  to  the  drum,  sliding  the 
metal  ball  along  the  string  to  the  end  where 
the  hook  is.  The  object  of  this  brass  ball 
is  to  pull  the  string  tight  when  the  drum  is 
being  unwound. 

If  you  wish  the  crane  to  raise  up  very  heavy 
weights,  you  must  employ  some  additional  gear- 
ing, of  which  Fig.  12  is  an  illustration.  The 
cord  from  the  drum,  a,  passes  over  the  block  b, 
and  is  fastened  to  the  hook  c,  which  is 
hammered  into  the  platform  of  the  crane,  and  a 
cord,  d,  is  fastened  to  the  block,  and  passes  over 
the  pulley  wheel  at  the  end  of  the  arm,  and 
forms  the  cord  to  which  the  weight  to  be  raised 
is  attached. 

We  have  now  completed  the  construction  of 
the  crane,  and  it  only  remains  for  us  to  finish 
off  the  various  parts  with  paint  or  varnish.  The 
arm  of  the  crane  should  be  painted  with  yellow 
ochre,  and  picked  out  with  black  ;  the  wheels 
should  be  painted  with  dark  green  enamel ;  and 
the  various  other  metal  parts  should  be  painted 
in  red  or  black,  according  to  taste.  All  the 
other  wooden  parts  may  be  polished,  varnished, 
or  left  plain,  according  to  the  kind  of  wood  used, 
and  the  taste  of  the  constructor. 

In  turning  the  platform  of  the  crane  round, 
you  must  be  very  careful  that  when  you  turn  it 
back  to  its  original  position  it  is  turned  back  in 
the  opposite  direction,  as  you  will  then  avoid 
twisting  the  wires  which  convey  the  current 
from  the  battery  to  the  motor. 

As  regards  the  battery  power  which  will  be 
required  to  work  the  crane,  the  number  and 
size  of  the  cells  will  depend  upon  the  size 
of  the  crane  and  the  weight  of  the  load  to  be 
lifted ;  but  if  you  have  made  the  crane  of  the 
dimensions  which  I  have  described,  and  the  load 
to  be  lifted  weighs  less  than  one  pound,  one 
half-pint  size  bichromate  cell  ought  to  furnish 
sufficient  motive  power  to  work  it ;  but  if 
the  weight  exceeds  this,  one  or  two  pint-size 
cells  would  be  required.  Under  usual  circum- 
stances, however,  the  weight  of  the  load  does 
not  exceed  one  pound,  therefore  one  half-pint 


size  bichromate  cell,  or,  at  most,  two  cells  should 
be  sufficient. 

I  will  now  add  a  few  suggestions  as  to  how 
such  additional  machinery  as  that  which  makes 
the  crane  run  along  rails,  and  which  makes  the 
platform  to  turn  round,  may  be  made.  The 
former  may  be  constructed  in  exactly  the  same 
manner  as  that  which  was  described  in  the 
article  on  the  electric  tramcar,  only  the  truck  of 
the  car  must  be  made  about  twice  as  deep  as 
was  formerly  described.  The  latter  will  require 
a  large  cog-wheel,  about  six  inches  in  diameter, 
to  be  fixed  on  to  the  top  of  the  truck.  Another 
motor  must  be  placed  near  to  the  edge  of  the 
platform,  which  must  have  one  end  of  its 
axis  consisting  of  pinion  wire,  aud  must  be 
placed  so  that  its  axis  is  in  a  vertical 
position.  This  machinery  is  represented  by 
Fig.  13,  in  which  e  is  the  top  of  the  truck, 
c  is  the  platform,  d  is  the  circular  piece  of 
wood,  also  represented  by  k,  in  Fig.  1,  a  is  the 
motor,  and  b  is  its  axle,  which  presses  tightly 
against  the  cog-wheel  f.  The  cog-wheel  should 
be  fixed  down  on  the  top  of  the  truck  by  means 
of  four  screws,  and  should  have  tolerably  large 
teeth.  When  the  motor  revolves  under  the 
influence  of  the  electric  current,  it  causes  the 
pinion  wire  to  rotate  with  it ;  and  since  this 
pinion  wire  presses  against  the  large  cog-wheel 
f,  which  is  fixed  to  the  top  of  the  truck,  the 
whole  platform  revolves  about  its  centre.  The 
wires  from  the  three  electro-motors,  which  wind 
the  drum  up,  turn  the  crane  round,  and  move  it 
along,  should  be  connected  with  a  starting  lever 
of  the  same  kind  as  that  already  described,  but 
having  three  drawing-pins,  instead  of  two,  fixed 
to  it.  This  should  be  fixed  in  a  convenient 
position  on  the  outside  of  the  truck,  and  by 
making  the  brass  handle  (see  Fig.  8)  touch  in 
turn  the  three  drawing-pins,  the  crane  will  go 
through  its  three  actions  in  succession.  The 
rails  for  the  crane  to  run  upon  may  be  made 
either  circular  or  straight,  as  described  in  the 
article  on  the  electric  tramcar. 

In  conclusion,  I  may  add  that  the  crane  need 
not  be  constructed  exactly  of  the  dimensions 
that  I  have  described,  but  its  size  may  be 
modified  according  to  the  taste,  ability,  and 
requirements  of  the  constructor. 


324 


ME  TAL-  TURNING. 


METAL-TURNING. 

By    A  FOREMAN   PATTERN   MAKER. 


III.— Turning  Small 


Rods  —  Steadies  —  Light  Bent 
Cranks. 

IN  this  series  I  do  not  propose  to  enter 

into  set  descriptions  of  the  details  of 

turning  in  the  lathe.     Space  will  not 

permit;    and  I   assume   that   most   readers   of 

Amateur  Wokk  are  acquainted  with,  at  least, 

the  rudiments  of  lathe  work.     I  shall,  therefore, 

rather  make  my  remarks  applicable  to  special 

aspects  of  the  art  of  turning,  and  address  myself 

to  the  pointing  out  and  clearing  up  of  difficulties 

that  arise  in  connection  therewith. 

In  this  chapter  I  will  consider  only  the  case 
of  work  turned  between  centres,  leaving  the  face- 
plate turning  for  the  next  chapter. 

The  turning  of  a  piece  of  stout  rod  between 
centres,  with  carrier  and  driver,  is  not  by  any 
means  a  difficult  task,  always  supposing,  of 
course,  that  tbe  tools  are  correctly  formed  and 
presented.  The  difficulty  with  amateurs,  I  take 
it,  lies  in  the  manipulation  of  the  smaller  and 
more  delicate  rods,  forgings,  and  castings  that 
occur  so  plentifully  in  model  work ;  and  as 
these  difficulties  are  increased  when  there  is  a 
lnck  of  special  appliances,  I  shall  generally  sup- 
pose the  amateur  to  be  possessed  only  of  those 
of  the  simplest  and,  for  the  most  part,  of  home- 
made construction. 

Thin  spindles  and  rods  give  much  trouble 
to  the  turner.  To  avoid  this  trouble,  such  small 
rods  are,  when  practicable,  made  of  iron 
or  steel  wire,  and  the  parts  by  which  they 
are  jointed  to  other  rods  are  made  separately, 
and  screwed,  or  otherwise  fastened  to  them. 
But  such  is  not  always  practicable,  and  then  the 
only  course  left  open  is  to  chuck  the  rods  between 
centres,  and  turn  with  extremely  light  cuts, 
supporting  the  rods  with  some  form  of  light 
steady,  to  prevent  them  from  springing  and 
wobbling.  Thus,  a  valve  rod  like  Fig.  1  (a), 
having  an  end  bossed  up,  could  be  chucked 
with  a  carrier  (b)  made  from  a  common  nut, 
having  a  set  or  pinching  screw  tapped  into  it, 
and  be  revolved  with  a  driver  pin.  The  bossed 
end  may  run  on  the  poppet  centre.  The 
possessor    of    a    self  -  centreing    chuck    would 


probably  make  use  of  that  instead  of  the  little 
carrier. 

If  the  rod  runs  out  of  truth,  it  should  be  re- 
moved from  the  lathe,  and  tapped  lightly  with  a 
hammer  on  the  bulging  parts,  which  parts  will 
be  indicated  by  holding  a  bit  of  chalk  against 
the  work  while  slowly  revolved  by  the  hand. 
When  it  runs  true  enough  to  ensure  holding  up 
to  size,  bring  a  steady  to  bear  against  it  some- 
where about  the  centre  of  its  length,  and  begin 
to  turn  very  close  to  the  steady.  As  the  tool 
moves  away  from  the  steady,  and  the  work 
shows  indication  of  wobbling  and  springing, 
move  the  steady  in  the  same  direction,  and  let 
it  take  another  bearing.  In  this  way,  long  and 
very  slender  work  can  be  turned  with  fair 
accuracy.  Too  much  pressure,  however,  should 
not  be  exerted  by  the  steady,  or  the  work  will 
be  untrue  and  bent  when  the  pressure  is  removed. 
It  should,  however,  be  firm  and  sufficiently 
coercive  to  answer  the  purpose  and  no  more — a 
matter  to  be  judged  by  practice. 

I  cannot  go  into  the  forms  of  steadies ;  they 
vary  a  good  deal.  For  light  work,  those  shown 
in  Figs.  2  and  3  are  as  good  as  any.  Fig.  2  is 
of  wood,  simply  wedged  between  the  lathe 
bearers.  Fig.  3  is  of  metal,  adjustable  in  a 
kind  of  angle  bracket  bolted  to  the  lathe  bed, 
or  to  the  saddle  of  a  slide  rest. 

The  slide-rest,  or  the  hand  tools,  may  be 
employed  for  turning  such  slender  work.  If  the 
slide  rest  is  used,  the  steady  should  be  bolted 
to,  and  carried  along  with  the  rest,  following 
the  tool.  If  the  slide-rest  tools  are  employed, 
they  should  be  more  pointed  than  those  used 
for  heavier  work,  and  the  feed  should  be  ex- 
tremely light.  There  is  some  advantage  in 
using  hand  tools,  the  graver  chiefly,  because 
then  the  precise  cutting  pressure  necessary  is 
felt,  and  is  not  likely  to  be  exceeded.  In  the 
case  of  scaly  forgings  it  will  be  as  well  to  first 
remove  the  scale  against  the  grindstone. 

Even  in  skilful  hands,  and  notwithstanding 
much  care,  slender  rods  are  very  difficult  to 
turn  true,  being  apt  to  spring  out  of  the  lathe. 
In  some  troublesome  jobs  it  is  better  to  rough 
down  with  the  cutting  tools,  and  trust  to  the  file 
for  finishing.  Still,  this  is  not  turning,  and 
does  not  give  the  best  results. 


ME  TAL-  TURNING. 


325 


L'ght  bent  cranks  are  sometimes  a  source  of 
trouble  to  the  turner,  because  of  tbeir  liabi  ity 
to  spring.  During  the  turning  of  the  shaft, 
-i,  Fig.  4,  it  is  necessary  to  insert  a  stiffener  of 
wood,  s,  in  the  dip,  otherwise  the  end  pressure 


vary,  but  the  essential  matter  is  to  have  the 
distance,  a,  exactly  equal  to  the  throw  or  radius 
of  the  crank.  The  plates  should  be  rigid,  and 
of  cast  or  wrought  iron.  The  lathe  driver,  a, 
thrusts  against  the  edge  of  the  left-hand  plate. 


of  the  lathe  centres  will  thrust  the  webs  of  the 
bend  inwards.  A  steady  may  have  to  be  used 
also.  Similarly,  when  turning  the  pin,  c,  Fig.  5, 
stiffeners,  d,  are  inserted.  At  e  e  are  shown  the 
chucking  plates  used  to  bring  the  crank  pin  in 
alignment   with  the  lathe  centres ;  thoir   forms 


FIC.3. 


The  forked  connecting  rod  and  the  forked 
eccentric  rods  (Figs.  6  and  7),  whose  shanks  are 
turned  circularly,  are  examples  of  light  and 
rather  troublesome  turning,  until  one  knows 
how  to  set  about  them.  The  proper  way  to 
chuck  is  to  let  the  forked  ends  in  either  case 


326 


HOW  TO   TURN  A    CUBE    ON  THE   LATHE. 


go  against  the  face-plate,  and  the  bossed  end  of 
Fig.  7  and  the  flat  end  of  Fig.  6  go  on  the 
poppet  centre.  There  would  be  several  methods 
of  securing  the  forked  ends.  The  easiest 
way  is  to  gouge  out  a  recess  in  a  wooden 
chuck,  and  allow  the  forked  ends  to  rest  therein  ; 
or  they  may  he  pinched  in  the  jaws  of  a 
two-jawed,  or  of  a  four-jawed  chuck.  If  the 
forgings  are  fairly  true,  a  self-centreing  chuck 
will  secure  them.  If  the  forks  are  not  formed 
in  the  rough  forgings,  but  forged  solid,  then  a 
point  centre  and  driver  can  be  employed. 
There  are  special  forms  of  chucks  used  for  ends 
which  are  already  shaped  and  bored,  but  I  will 
not  describe  them  here. 

When  chucked,  there  will  be  found,  in  a 
slender  model  rod,  a  tendency  to  spring  and 
bulge  the  forked  portion,  due  to  the  endlong 
pressure  of  the  centres  :  and  when  the  shank  is 
two  or  three  inches  in  length,  one  of  the  steadies 
in  Figs.  2  and  3  must  be  employed.  A  long 
fork,  like  Fig.  7,  should  also  be  clamped  with  a 
clamp  of  wood  or  a  bit  of  binding  wire,  about 
the  middle  of  its  length.  Then  the  shank  can 
be  turned. 

Steel  is  better  than  wrought  or  malleable  iron 
for  all  model  work,  not  only  because  it  is 
stronger,  a  consideration  in  rods  of  £  or  fs  inch 
diameter,  but  also  because,  being  more  rigid,  it 
is  worked  with  less  risk  of  bending  out  of  truth, 
or  fracture. 

It  is  work  of  this  and  similar  character  that 
furnishes  excellent  training  for  the  amateur 
turner,  developing  that  delicacy  of  touch  and 
manipulation  that  is  so  vital  a  factor  in  the 
attainment  of  proficiency.  The  skilful  turner 
judges  by  the  sense  of  touch  how  much  pressure 
lie  may  exert — whether  his  tools  are  operating 
freely,  or  with  difficulty,  and  so  on. 

The  accuracy  of  turned  dimensions  is  secured 
with  callipers  usually ;  but  amateurs  may  take 
a  leaf  out  of  the  book  of  workmen,  and  often 
substitute  for  calliper  measurement  that  of 
gauges.  Callipers  are  apt  to  spring  and  to 
alter,  and  so  cause  differences  in  diameter.  The 
gauges  are  not  liable  to  such  error ;  the 
only  error  they  can  cause  is  that  due  to 
wear.  A  gap  filed  in  a  bar  of  steel  (Fig  8) 
will  make  an   unalterable  gauge ;    or   a   clean 


hole  drilled  with  a  twist  drill  through  a  steel 
disc  will  form  a  good  female  gauge  (Fig.  9), 
which  may  be  slid  on  the  end  of  the  work 
that  is  first  turned  to  size,  and  then  traversed 
along  to  test  successive  lengths,  indicating 
in  detail  finished  dimensions  until  the  rod  is 
done.  If  only  a  couple  of  rods  have  to  be 
turned,  and  are  wanted  true,  it  is  better  to  make 
one  of  these  gauges,  involving  not  more  than 
a  half-hour's  work,  than  to  employ  callipers. 
Callipers  are  really  not  well  suited  to  small 
dimensions.  These  temporary  gauges  need  not 
be  hardened  or  lapped ;  as  they  should  be  if 
intended  for  repeated  use. 


HOW  TO  TURN  A  CUBE  ON  THE 
LATHE. 

By  ROBERT  W.  COLE. 


T  is  often  necessary  in  the  various 
operations  connected  with  turning  and 
ornamental  woodwork  to  cut  a  cube. 

To  lay  before  the  reader  a  simple  method  by 
which,  a  cube  of  any  size  may — although  not  with 
mathematical  accuracy,  but  nevertheless  with  an 
accuracy  sufficient  for  almost  all  purposes — be 
cut  on  the  lathe,  is  the  subject  of  the  present 
paper.  Suppose,  by  way  of  example,  that  we 
wish  to  cut  a  2-inch  cube  of  wood ;  that  is,  a 
cube  which  measures  2  inches  every  way. 

First  of  all,  we  must jnake  a  kind  of  bell-chuck. 
Fix  a  piece  of  hard  wood,  about  4-J  inches  in 
diameter  and  2  inches  long,  on  to  a  face-plate 
with  screws  and  clamps,  turn  its  outside  edge 
perfectly  true,  and  bore  a  hole,  1-J  inches  deep 
and  3  inches  in  diameter,  in  it.  Be  very  careful 
that  the^hole  is  of  the  same  diameter  throughout, 
and  that  its  end  is  quite  flat.  Then  with  a 
pencil  draw  a  line  round  the  outside  of  the  piece 
of  wood  £  inch  from  its  edge,  and  another  one 
|  inch  from  this  one.  Select  eight  stout  screws 
li  inches  long,  and  cut  off  their  ends  so  that 
they  have  blunt  points.  Then  bore  four  holes 
to  suit  these  screws  at  equal  distances  apart  on 
each  of  the  lines  drawn  round  the  piece  of  wood, 
and  screw  the  screws  into  them  until  their 
blunted  points  begin  to  appear  inside  the  chuck. 


HOW  TO    TURN  A    CUBE    ON  THE  LATHE. 


327 


This  piece  of  wood,  which  forms  the  chuck  in 
which  the  cube  is  to  be  turned  ;  in  fact,  the  chuck, 
with  fittings  complete,  is  represented  by  Fig.  1. 

Having  thus  completed  the 
chuck,  we  will  now  proceed  to 
turn  the  cube.  First  of  all, 
cut  out  roughly  a  cube  of  wood 
measuring  rather  more  than  2 
inches  each  way.  Place  this 
cube  in  the  chuck,  give  it  a 
few  blows  with  a  hammer, 
so  that  it  presses  quite  flat 
against  the  bottom  of  the 
chuck,  place  small  wooden 
wedges  or  blocks  between  it 
and  the  screws,  and  wind  up 
the  screws  until  quite  tight. 
Fig  2  is  a  front  view  of  the 
chuck  with  the  cube  fixed  in 
its  place,  a  being  the  cube,  b 
the  chuck,  c  one  of 
the  screws,  and  d 
the  wedge  of  wood 
placed  between  c 
and  the  cube.  When 
the  cube  is  fixed 
quite  firmly  in  the 
chuck,  turn  the  face 
of  it  which  projects 
from  the  chuck  quite 
true.  Then  take  it 
out  of  the  chuck, 
and  tix  it  in  again, 
with  the  face  which 
is  opposite  to  the 
former  one  project- 
ing. This  face  is 
then  turned  quite 
true,  and  reduced 
until  the  length  of 
the  part  of  it  which 
projects  outside  the 
chuck,  added  to  that 
which  is  inside,  is  exactly  equal  to  two  inches. 
The  length  of  the  part  of  the  cube  which  projects 
from  the  chuck  is  then  exactly  measured  with 
callipers,  and  the  cube  is  then  taken  out  and  re- 
chucked  with  another  face  projecting.  This 
face  is  then  turned  true,  and  the  cube  is  then 


CHUCK  IN  WHICH  CUBE  IS  TURNED. 


placed  with  the  face  which  is  opposite  to  the  one 
projecting,  and  it  is  reduced  until  the  length  of 
the  part  which  projects  is  equal  to  the  length 
which  you  previously  measured 
with  the  callipers ;  this  opera- 
tion being  necessary  to  make 
the  sides  of  the  cube  equal  to 
one  another.  The  two  re- 
maining sides  are  turned  in 
the  same  manner,  care  being 
taken,  in  each  case,  that  the 
face  which  is  turned  towards 
the  inside  of  the  chuck  rests 
quite  flat  against  the  bottom 
of  the  hollowed  out  part. 

The  cube  is  now  complete ; 
and,  in  conclusion,  I  will  add 
that,  although  the  process  of 
turning  a  cube  seems  rather 
tedious,  on  account  of  the 
chuckings  required, 
the  time  taken  to 
turn  it  is,  neverthe- 
less, not  so  long  as 
it  appears,  since  it 
can  be  almost  in- 
stantaneously un- 
chucked  and  -  re- 
chucked  by  simply 
turning  the  screws. 
Both  amateur  and 
workman  who  have 
faced  the  problem 
of  planing  up  small 
pieces  of  wood  will 
testify  to  the  diffi- 
culty that  it  pre- 
sented ;  therefore 
this  plan  of  procur- 
ing cubes  in  the 
lathe  will  be  readily 
appreciated. 


2. — CUBE    FIXED    IN  CHUCK  ;   A,  CUBE  ;    B,  CHUCK  ;  C,  SCREW 
D,  BLOCK  OF    WOOD   PLACED   BETWEEN  C  AND  CUBE. 


To  Render  Paper  Transparent  for  copying- 
drawings,  rub  it  lightly  over  with  a  ball  of  cotton 
saturated  with  pue  benzine.  The  tracing  can 
then  be  made  upon  it ;  then  the  benzine  evapo- 
rating will  leave  the  paper  opaque  as  before,  and 
will  not  leave  any  trace  of  odour  behind. 


328 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


HOW    TO    MAKE-UP    FOR 
THE    STAGE. 

By  PROFESSOR  LIONEL  ARTHUR. 

XI.— On  Whiskers,  Beards  and  Moustaches — Home- 
made Beards  and  Whiskers— Materials  required 
—  Bending  the  Wire— Braiding  the  Wire — Sewing 
Hair  on  Wire  — Crepe  —  Hair  and  its  manipu- 
lation—  The  proper  application  of  Whiskers 
and  Moustaches. 


HAVE  already  described  the  various 
forms  of  ready-made  moustaches, 
whiskers,  beards,  &c,  and  given  the 
prices  for  such  items.  These  articles  (at  least 
the  whiskers  and  beards)  are  generally  formed 
on  a  wire  shape,  and  are  made  with  crepe  hair, 
but  unless  very  skilfully  made,  are  apt  to  have  a 
clumsy  and  a  very  artificial  appearance  when 
placed  upon  the  actor's  face.  The  ready-made 
article  is  very  seldom  worn  by  the  professional 
actor,  but,  on  the  other  hand,  is  much  used  by 
the  amateur — especially  for  small  parts — who 
objects,  in  many  cases,  to  injure  his  skin  with 
spirit  gum  and  other  liquids.  All  things  con- 
sidered, then,  it  may  perhaps  be  interesting  to 
the  readers  of  these  chapters,  if  I  describe  the 
way  in  which  these  whiskers  on  wire  are  made  ; 
and  the  method,  I  may  add,  is  so  soon  learned 
that  anyone  with  a  quick  eye,  and  a  nimble 
finger,  should  soon  be  able  to  turn  out  a  much 
better  article  than  that  usually  sold  in  the 
barber's  shop.  The  first  thing  required  is  a 
supply  of  crepe  hair ;  this  is  sold  by  Fox  or 
Clarkson,  at  6d.  per  yard,  in  some  dozen  dif- 
ferent colours ;  and  it  is  best,  when  in  town, 
to  pay  a  visit  to  either  of  these  well-known 
and  interesting  stage  museums,  and  select  the 
colours  which  suits  one's  fancy.  The  attendant 
will  also  advise  as  to  the  most  useful  and 
generally  required  shades,  besides  showing  you 
many  attractive  novelties  in  connection  with 
the  trade. 

As  I  have  said,  the  hair  is  sold  in  long  lengths, 
tightly  plaited  together  on  string,  and  it  requires 
some  little  practice  to  pull  out,  and  work  it 
up  properly  for  actual  use.  This  is  done  by 
cutting  off  a  short  length  with  the  scissors, 
which  is  then  pulled  at  each  end  with  the  fingers  ; 
this  allows  the  string,  which  is  plaited  up  with  it, 
to  be  pulled  away.     Now  hold  the  hair  between 


the  finger  and  thumb  of  each  hand,  and  keep 
pulling  it  hard  until  it  has  somewhat  lost  its 
wavy  appearance.  Next  unravel  it  further  by 
pulling  it  apart  with  the  fingers,  and  then  hold 
it  between  the  finger  and  thumb,  and  work  it 
well  apart,  first  sideways  and  then  lengthwise. 
It  must  be  thoroughly  separated,  and  the  wavy 
appearance  also  destroyed,  or  the  best  effect — a 
natural  one — will  not  be  obtained.  It  is  some- 
what hard  to  describe  the  manipulation  of  crepe 
hair  to  the  novice  ;  and  I  would  strongly  advise 
those  amateurs  who  purchase  it  personally  at 
the  shops,  to  ask  the  attendant  to  show  them  the 
proper  way  to  work  the  hair  up  for  use,  and  to 
give  you  the  piece  he  unravels  as  a  specimen 
which  you  may  take  as  a  guide. 

Having  got  the  hair  into  proper  working  order, 
take    some    copper   wire,    and    cover     it    with 
black  braid  or  tape ;  you  can  do  this  by  winding 
the   tape   round  the  wire   in   spiral  form,  and 
fastening  it  off  at  each   end   with  needle  and 
cotton.     The  wire  should  first  be  roughly  bent 
into  the  required  shape,  to  ascertain  the  proper 
length,  and  then  cut  off  and  straightened  out 
again.    It  must,  of  course,  be  applied  to  the  face, 
and  bent   round   over   the   ears,  to  obtain  the 
proper  shape.     The  wire  being  covered  in  the 
manner  described,  it  is  again  applied  to  the  face, 
and  properly  moulded  into  shape.     The  hair  is 
now  sewed  or  tied  on  with  some  black  silk,  pains 
being  taken   to   conceal   the    wirework   shape. 
Apply  the  shape  to  the  face  occasionally,  to  see 
how  and  where  the  hair  covers.     Next  brush 
and  comb  down  the  hair,  and  then  finally  trim  into 
shape  with  a  pair  of  sharp  scissors.     Some  people 
place  the  beard  upon  the  face  of  another  person 
to  trim  it ;   they  can  then  better  judge  when  the 
necessary  effect  has  been  obtained.     The  illus- 
trations  in   Figs.    56,    57,    58   will   give   some 
idea  of  the  way  these  whiskers  and  beards  are 
made  up.  On  the  right  the  covered  wires  are  shown 
bent  into  shape,  and  on  the  left,   the   finished 
article  upon  the  actor's  face.     I  just  now  said, 
that  professionals  seldom  use  the  ready-made 
hirsute  appendages,  but  prefer  to  work  up  some 
crepe  hair,  apply  it  to  the  face  with  spirit-gum 
or  glue,  and  trim  into  shape  with  scissors  as 
soon   as   the  hair   is  tightly  secured.     I  must, 
therefore,  put  the  amateur,  as  well  as  I  can,  in 


HO W  TO  MAKE-UP  FOR    THE   STAGE. 


329 


the  way  of  practising  this  somewhat 
difficult  art ;  but  it  well  repays  any 
amount  of  study  and  patience  which 
may  be  bestowed  upon  it,  for  the 
effects  to  be  obtained  are  sometimes 
wonderful,  and,  in  clever  hands, 
cannot  be  detected  from  natural  hair 
itself. 

The  crepe  hair  is  well  unravelled 
and  worked  up  in  exactly  the  same 
way  as  just  described ;  but  practise 
this  well  for  some  time,  as  the  wavy 
appearance  must  be  got  rid  of  com- 
pletely, neither  must  the  hair  be 
allowed  to  remain  in  lumps.  The 
hair  is  fixed  to  the  face  with  what 
wig-makers  have  styled  spirit-gum ; 
this,  in  reality,  is  white  hard,  spirit- 
varnish,  and  applied  to  a  tender  skin 
it  causes  extreme  pain,  and  even  on 
the  toughest  skin  it  occasions  smarting 
for  a  few  minutes  after  its  application. 
For  this  reason  a  good  many  "  pro.s  " 
use  pieces  of  strong,  good,  glue — 
Scotch  glue,  I  believe — and  cut  it  up 
into  sticks.  To  use,  wet  it  in  water 
or  the  mouth,  the  former  preferably, 
and  hold  it  over  the  gas  for  a  minute 
or  so ;  this  melts  a  certain  portion, 
and  the  stick  is  immediately  rubbed 
over  the  face  whereon  the  hair  is  to 
be  fixed.  I  have  frequently  seen 
"fixatives,"  guaranteed  to  be  harm- 
less and  pleasant  to  use,  advertised 
in  the  theatrical  papers,  but  I  am 
unable  to  lay  my  hands  on  the 
addresses  of  the  makers  just  now ; 
neither  have  I  tried  any  of  them,  so 
cannot  speak  as  to  their  merits. 
Having  decided  on  the  fixing  agent, 
the  proper  quantity  of  hair  is  taken 
and  roughly  worked  into  shape,  and 
laid  upon  the  dressing-table ;  if  for 
side  whiskers,  prepare  both  pieces 
at  once,  and  the  moustache  also,  if 
one  is  to  be  worn.  Always  remember  that  a 
moustache  should  be  put  on  in  two  pieces.  Now 
apply  the  gum  on  one  side  of  the  face  only,  and 
allow  it  to  partially  dry;  then  place  the  hair 


FiC  58 


gently  and  evenly  upon  the  face,  and  press  firmly 
with  a  clean  cloth  until  it  is  secured,  which  will 
be  in  about  a  minute.  Treat  the  other  side  of 
the  face  and  upper  lip  in  the  same  way ;  and 
vol.  ni.  (n.s.) — D  D 


330 


HOW  TO  MAKE-UP  FOR    THE   STAGE. 


when  all  is  dry,  neatly  trim  to  the  desired  shape 
with  a  pair  of  scissors.  All  this  seems  very  easy, 
but  I  can  assure  my  readers  that  unless  it  be 
properly  done,  anything  but  a  natural  effect  is 
secured ;  it  is,  however,  very  easy  to  accomplish 
when  once  the  knack  of  applying  the  hair  has 
been  mastered  ;  and  anyone  with  sharp  wits  and 
common  sense  should  soon  pick  this  up.  The 
great  point  then  is  to  get  this  knack,  and 
perhaps  the  following  few  wrinkles  will  help  to 
attain  this  object.  The  great  fault  with  inex- 
perienced actors  is  to  apply  too  much  gum, 
and  to  affix  too  much  hair.  A  few  drops  of 
gum,  properly  applied,  will  be  found  amply 
sufficient  to  retain  the  required  quantity  of  hair 
in  its  place.  A  superfluity  of  hair  must  on  all 
accounts  be  avoided.  Who  has  not  seen,  time 
after  time,  that  curious  individual,  the  nair- 
loving  amateur  actor,  whose  face  is  a  eioss 
between  a  venerable  gorilla  and  a  fluffy  door- 
mat— he  who  sticks  the  crepe  hair  on  in  such  solid 
lumps,  and  in  such  profuse  quantities,  that  his 
features  are  completely  hidden  beneath  the 
artificial  covering.  He  is  taught,  or  ought  to 
be,  that  the  face  is  the  index  of  the  heart  and 
mind,  that  the  emotions  passing  within  the  latter 
should  be  indicated  by  the  varying  expressions 
which  the  human  physiognomy  displays,  or  can, 
at  will  and  inclination,  be  made  to  display ;  and 
this  is  how  he  proceeds  to  carry  out  this  precept, 
i.e.,  by  hiding  his  features  as  much  as  possible 
with  false  hair.  Now,  the  expressions  of  the 
face,  which  are  accomplished  by  moving  the 
eyes,  mouth  and  muscles  of  the  face  generally, 
are  of  the  very  greatest  importance  on  the  stage  ; 
and  this  is  the  reason  why  actors  are,  as  a  rule, 
clean  shaved.  Actors  who  have  to  play  very 
emotional  parts,  or  even  comical  characters,  for 
the  proper  delineation  of  which  a  constant 
change  of  countennace  is  necessary,  dispense 
with  whiskers  and  moustaches  as  far  as  the  piece 
will  allow,  which,  in  some  cases,  is  altogether. 
Whiskers,  etc.,  are  not  put  on  the  face,  it  must  be 
remembered,  to  disguise  the  person,  who  is 
playing  the  part,  from  the  individual  he  really  is  ; 
they  are,  in  fact,  worn  to  assist  in  making  up 
the  face,  which  in  its  turn  is  made,  as  far  as 
possible,  to  resemble  the  ideal  of  the  character 
as  painted  in  words  by  the  author  of  the  play. 


The  making-up  of  the  face  for  dramatic  pur- 
poses occupies  the  same  position  on  the  stage  as 
the  verbal  descriptions  introduced  by  the  author 
of  a  novel  occupies  when  he  is  conveying  to  his 
readers,  by  means  of  pen-and-ink  portraits,  the 
personalities  of  the  various  characters  in  his 
tale.  Each  of  his  portraits  the  novelist  conveys 
in  words,  but  it  is  impossible  for  the  dramatist 
to  do  this  ;  consequently  he  calls  upon  the  actor 
to  accomplish  these  results  by  means  of  his 
costume,  and  the  contents  of  his  "make-up" 
box.  This,  if  truthfully  done,  should  have  the 
same  effect  as  the  written  description  of  the 
author,  or  the  drawing  or  painted  picture  of 
the  artist. 

I  conclude  this  chapter  by  giving  the  follow- 
ing valuable  hints,  which,  if  carefully  followed, 
should  result  in  a  valuable  and  natural  make- 
up, and  one  likely  to  obtain  for  the  wearer 
unstinted  praise  from  his  audience. 

1.  Remember  the  hair  on  the  face  is  always  lighter- 
than  that  on  the  head.  Non-attention  to  this  rule 
results  in  incongruity,  and  is  frequently  the 
cause  of  faulty  make-ups. 

2.  Use  a  small  quantity  of  gum  only,  laid  on 
the  required  place.  Do  not  place  the  hair  on 
immediately,  but  wait  till  the  gum  commences 
to  dry  ;  then  press  the  hair  on,  keeping  it  in 
position  with  the  palm  of  the  hand,  or  a  cloth, 
until  it  has  stuck  fast. 

3.  When  fitting  on  eyebrows,  place  the  gum 
on  the  forehead,  just  above  the  natural  ones,  and 
not  on  them.  Should  the  gum  get  on  the  eye- 
brows, the  natural  hair  will  stick  together,  and 
will  take  days  to  get  into  proper  condition 
again. 

4.  Do  not  put  on  the  hair  in  lumps  ;  mould  it 
into  shape  with  the  fingers,  and  afterwards  trim 
roughly  with  scissors ;  trim  again  when  fixed 
to  required  shape. 

5.  Use  but  very  little  hair,  especially  for  the 
neat  short-cut  beards  and  whiskers  now  so 
much  the  fashion  amongst  business  men  and 
theatrical  managers.  ( Vide,  Horace  Sedger, 
Augustus  Harris,  etc.)  When  the  make-up  is 
done  with,  remove  the  hair,  and  throw  it  away, 
using  fresh  for  every  performance. 

The  removal  of  the  make-up  will  be  treated 
upon  in  another  chapter. 


HOW  TO  MAKE  A    "SUSSEX"   FLOWER-POT  COVER. 


331 


HOW  TO  MAKE  A  "SUSSEX" 
FLOWER-POT  COVER. 

By  "  chopstick:' 


Fl  C 


N/^ 


=±dfc 


Fl  C.  6 


1 


JT  describing  how  to  make  the  above,  I 
am  under  a  great  disadvantage,  inso- 
much, as  it  is  impossible  to  give  to  a 
drawing  the  same  effect 
as  the  real  article  pre- 
sents ;  but  I  will  do  my 
best    to   surmount   the 
difficulty,    and  if  I  do 
so  just  enough   to  en- 
courage any  reader  to 
make  one  for  himself, 
I  am   sure  he  will  be 
satisfied  with  the  result. 
One  great  thing  in  the 
favour   of    the    article 
which  I   am   about  to 
describe   is   its   cheap- 
ness,  as  we  can  make 
for  sixpence  a  flower- 
pot equal  to,  if  not  surpassing, 
many  which  are  sold  for  five 
shillings.     The  materials  re- 
quired   are    as    follows: — A 
piece  of  ash  pole  2  feet  long, 
about  lh  inches  in  diameter; 
a  piece  of  willow,  or,  properly 
speaking,   "sallow,"    3    feet 
long,     about    3    inches     in 
diameter ;    a    piece    of    deal 
board,  8  inches  square,  \  inch 
thick ;  a  packet  of  tin-tacks, 
and     a     few     silvered     up- 
holsterer's nails.      The   tools 
required  are  an  axe,  a  draw- 
ing-knife,    hammer,    and    a 
sharp  pocket-knife. 

TT„     • .    .i         ,.      ,  ,    FIG.  I.— ELEVATION  OF  "  SUSSEX 

Having  got  the  timber  and  FIG.  2._PLAN  0f  ditto. 
the  tools,  we  will  proceed  to  FIG-  3— section  of  pole  for  rim. 

,  _,.  ,r  FIG.  4  — DITTO,     CLEFT    OUT    AND    TRIMMED    TO 

business.    First  take  the  deal 


Fig  3)  ;  trim  one  piece  to  the  shape  shown  in 
Fig.  4 ;  then  place  it  in  a  copper  of  hot  water — 
this  is  to  make  it  pliable ;  while  it  is  boiling, 
make  another  octagon  (out  of  any  rough  board), 
J  inch  smaller  all  round  than  the  bottom  of  the 
pot.  By  this  time  the  rim  will  be  in  a  fit  state  to 
bend  anywhere  without  breaking ;  if  it  is  so, 
bend  it  round  the  smaller  octagon,  and  mark 
the  length,  allowing  2 


FIG.  5. 


board,  and  by  cutting  off  the  JJj?  |_'I 


SHAPE. 
-DETAIL  OF  SPLICING  AT  A  (FIG.  2). 
-BOARD  BEFORE  NAILING  ON  ;  A,  BOTTOM. 

corners,    convert    it    from   a 
square  to  an  octagon  (as  in  Fig.  2);   this   is 
for  the  bottom  of  the  pot ;  then  take  the  ash 
pole,    and   split  it   in   quarters    (aa   shown   in 


inches  for  splicing  (as 
in  Fig.  5).  Then  cut 
the  ends  on  the  bevel, 
as  shown,  and  bend 
again,  and  nail  together 
with  a  couple  of  tacks 
through  the  splicing  ; 
now  put  it  on  one  side, 
to  dry  while  you  pre- 
•  pare  the  boards. 

In  the  first  place,  cut 

the    willow    pole   into 

two      equal     lengths ; 

then  cleave  it  into  thin 

pieces,  the  thinner  the 

better;     having   cleft   it    all 

up,  shave  the  pieces,  or  plane 

them  to  about  £  inch  thick, 

and  reduce  them  in  width  to 

about   2  inches.      The   ends 

should  be  left  to  be  trimmed 

oft  after  they  are  nailed  on. 

By   this   time   the   rim   will 

probably  be  dry  ;  if  so,  take 

it  off  its  block,  and  clinch  the 

nails   which  fix  the  splicing 

together,    and  trim   up    the 

splicing   if  necessary ;    then 

take  the  bottom  of  the  pot, 

and  nail  one  of  the  boards 

on  it  with  a  tin-tack  in  such 

a  way  that  one  edge  is  level 

with  one  point  of  the  octagon 

(b,   Fig.    2) ;    take    another 

board,  and  nail  on  the  same 

side,    but    level     with     the 

other  point  (c,  Fig.  2).    The 

two  boards   will   then  lap   over    one    another 

about  |  inch ;  nail  the  two  overlapping  edges 

to   the  bottom  with  a  tack  through  the   two ; 


FLOWER-POT. 


332 


A   BEDSIDE   OR  PEDESTAL    CUPBOARD. 


and  one  side  is  completed.  Proceed  with  the 
other  seven  sides  in  the  same  way,  until  they 
are  all  done ;  then  nail  the  rim  inside  the 
boards,  about  2  inches  down  from  the  top ; 
of  course  regulating  them  so  as  to  keep  the 
angles  upright,  and  each  side  of  the  same 
width.  This  looks  rather  difficult  on  paper,  but 
it  will  come  remarkably  easy  in  practice. 
Having  got  so  far,  you  must  next  trim  the 
boards  off,  top  and  bottom,  with  the  knife,  which, 
if  sharp,  will  be  a  very  easy  matter ;  having  cut 
them  off  level,  then,  with  the  same  tool,  cut 
notches  round  the  top,  and  hollow  out  the 
bottoms  (as  shown  in  Pig.  1),  and  you  will,  I 
am  sure,  be  pleased  with  your  work.  I  w  ould 
recommend  you  to  finish  the  flower-pot  with 
enamel  of  different  colours,  which  should  be 
done  next ;  and  for  the  finishing  touch,  drive  a 
silver-headed  nail,  so  as  to  cover  each  of  the 
tin- tacks.  You  will  then  be  in  possession  of  "  a 
thing  of  beauty,  and  a  joy  for  ever,"  as  these 
kind  of  flower-pots  are  not  like  the  stoneware 
ones ;  they  may  be  thrown  about,  but  will  not 
break  ;  they  will  also  make  good  hanging-pots, 
by  attaching  three  cords  to  the  rim.  Before 
concluding,  I  would  mention  that  the  size  I 
have  given  is  a  large  one,  but  my  readers  can 
lessen  it  to  suit  their  own  wants  ;  and  if  there 
are  any  particulars  not  quite  clear  to  them,  I 
shall  be  pleased  to  explain  further,  if  I  am 
asked  to  do  so. 


It  is  easy  to  make  a  stone  for  sharpening  tools, 
and  to  make  it  sufficiently  hard,  and  give  it  the 
"  bite  "  desired.  Take  gelatine  of  a  very  good 
quality,  which  melt  in  an  equal  quantity  of  water. 
The  operation  should  be  performed  in  darkness, 
as  daylight  is  injurious  to  gelatine.  When 
melted,  add  1^  per  cent,  of  bicarbonate  of  potash 
previously  dissolved.  Then  take  about  nine 
times,  by  weight,  the  quantity  of  gelatine  em- 
ployed of  very  fine  emery  and  pulverized  flint- 
stone,  which  mix  intimately  with  the  dissolved 
gelatine.  Mould  the  obtained  paste  according  to 
the  desired  form,  and  press  it  in  as  hard  as 
possible  to  consolidate  the  mass  well.  After  it 
has  been  dried  in  the  sun,  you  will  have  a  first- 
class  cutting  stone  for  sharpening. — Carpenter 
and  Builder. 


A    BEDSIDE    OR    PEDESTAL 
CUPBOARD. 

BEING  THE  SIXTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD    UTILITY. 

By  ED.  C.  ROE,  Jun.,  Silver  Medallist,   City  and  Guilds 
of  London  Institute. 


ANY  are  the  occasions  upon  which  I 
have  remarked  the  great  usefulness  of 
a  bedside  cupboard,  the  top  being 
especially  useful,  not  to  mention  the  additional 
convenience  afforded  by  the  cupboard  beneath. 
Suffice  it  to  say,  that  I  do  not  doubt  for  one 
moment  but  that  wherever  such  a  piece  of 
furniture  is  installed,  it  will  be  much  esteemed. 

Let  us,  in  a  few  words,  review  the  proposed 
work  as  a  whole,  and  then  proceed  with  the 
details.  Regarding  any  points  of  novelty  little 
can  be  said,  for  there  are  virtually  none,  unless  ■ 
the  perforated  panel  in  back  can  be  called  so  ; 
but  whether  it  is  considered  a  novelty  or  not, 
its  uses  and  advantages  are  very  great,  as  a 
cupboard  used  for  such  purpose  as  is  intended 
will  in  time  smell  very  foul ;  and  this,  it  must  be 
acknowledged,  is  a  thing  to  be  abhorred,  and 
prevented  at  any  cost.  The  perforated  panel 
will  afford  ample  ventilation,  and  thus  we  can 
avoid  possibly  unpleasant  odours.  The  small 
capping  will  be  found  to  afford  a  pleasing  break 
to  the  front. 

The  height  over  all  is  2  feet  6J  inches,  the 
width  of  top  1  foot  3  inches,  and  of  the  sides 
1  foot  2£  inches.  The  top  will  require  to  be 
finished  1  foot  3  inches  by  1  foot  4J  inches  long. 
Work  moulding  on  front  and  two  sides  (as 
section  1)  ;  before  the  moulding  is  finished,  the 
housings  to  take  the  ends  of  the  two  sides  must 
be  cut  in  the  underside ;  ^  inch  will  be  sufficiently 
deep.  To  make  a  very  good  job,  the  sides 
might  be  dovetail  housed  to  top ;  this  method 
will  effectually  prevent  any  possibility  of  the 
top  curling.  (A  section  showing  clearly  what 
is  meant  is  given  at  Pig.  2.) 

The  sides,  after  preparing,  must  be  housed  to 
receive  the  bottom  (as  shown  by  Fig.  3),  also  for 
shelf ;  and  rebated  to  receive  back  (see  Figs.  4 
and  5  for  size  of  rebate).     The  bottom,  also,  is 


A   BEDSIDE    OR  PEDESTAL    CUPBOARD. 


333 


rebated  to  take  back,  but  not  so  deeply.  The 
sides  run  down  to  the  ground,  thus  affording 
ample  fixing  for  the  skirting  (section  shown  at 
Fig.  6) ;  the  side  portions  may  be  fixed  by 
screws  from  the  inner  face  of  side,  and  the  front 
piece  fixed  by  blocks  and  glue  (Figs.  6  and  9) ; 


on ;  all  that  is  necessary  at  the  back  is,  after 
fitting  in  the  zinc  and  panel,  to  brad  small  fillets 
on  to  fix.  Of  course,  this  may  be  considered  a 
somewhat  shady  way  of  doing  work,  but  really 
it  answers  every  purpose  in  the  case  under 
consideration,  at  any  rate ;  and  time  spent  on 


the   blocks   are  continued   round  sides,  giving 
great  additional  strength. 

The  back  is  framed  square ;  the  top  panel  is 
provided  with  perforated  zinc,  as  already  men- 
tioned; the  bottom  panel  is  made  in  the 
ordinary  way ;  in  both  cases  J-inch  beads  will 
be  mitred  round  the  under  edge,  and  bradded 


FIC.4-. 


unnecessary  work  may  be  called  wasted.  (Sec- 
tions through  top  and  bottom  panels  and  stiles 
are  given  at  Figs.  4  and  5  respectively.) 

Let  us  now  proceed  with  the  door  (sections  of 
stiles  and  rails  are  given  at  Figs.  10  and  11). 
The  transom  rail  is  the  same  width  as  the 
stiles ;  in  this  case  it  will  be  most  advisable  to 


334 


SIMPLE    ORNAMENTAL    TURNING. 


work  the  mouldings  in  the  solid,  and  therefore 
the  whole  must  be  mitred  or  scribed  together. 
The  capping  over  top  of  upper  panel  (see  Fig.  1 1 
for  section)  is  returned  upon  itself  at  each  end, 
and  glued  and  bradded  on,  or  screwed  from 
the  back. 

The  bead  on  the  joint  of  door  with  sides  is 
formed  (as  will  be  seen  by  referring  to  Fig.  10) 
by  a  J-inch  bead  stuck  upon  edge  of  side,  and  a 
small  rebate  upon  door.  A  pair  of  2|-inch  brass 
pressed  butts  will  hang  the  door  well ;  a  turn- 
buckle  should  be  fitted  on  at  about  18  inches 
from  the  floor ;  or,  in  lieu  of  a  turnbuckle,  a  nice 
method  is  to  fit  with  a  Bale's  ball-catch,  or 
similar  contrivance,  and  a  small  screw  or  other 
suitable  knob.  The  door  is  hung  upon  the 
left-hand  side,  viewing  from  front. 

I  have  purposely  omitted  discussing  the 
material  and  finish,  as  both  will  depend  almost 
entirely  upon  the  furniture  with  which  the 
cupboard  will  be  placed. 

The  sections  are  two-thirds  full  size,  the 
elevations  of  front,  back,  and  side  being  drawn 
to  the  scale  of  1  inch  to  a  foot. 


SOME   CHAPTERS   ON 
SIMPLE  ORNAMENTAL  TURNING. 

By  J.  L.  DWYER,  B.A. 


III. — FORGINGS    FOR    SLIDE    GUIDES. 

]HE  forgings  for  the  slides  are  shown  in 
various  views,  from  Figs.  14  to  18.  I 
have  put  down  roughly  the  dimensions 
in  order  that  the  amateur  may  have  an  idea  of 
their  size,  but  their  finished  sizes  will  depend  on 
the  diameter  and  depth  of  the  recess  in  front  of 
the  body  of  the  cutter. 

If  forgings  cannot  be  procured,  raw  iron  may 
be  used,  and  I  have  seen  some  good  slides  made 
of  f  inch  by  1  \  inches  bar  iron,  filed  to  shape, 
the  centre  one  having  a  boss  for  the  tool  rivetted 
on,  as  is  shown  by  the  dotted  lines  (Fig.  15). 

Supposing  the  forgings  got,  the  first  to  attack 
is  the  centre  one  (Figs.  14  to  16).  The  flat  under 
surface  is  filed  quite  true,  and  then  the  Vs  are 
filed,  making  an  angle  of  60°  with  the  base. 
Great  care  should  be  taken  to  have  the  edges 


quite  parallel ;  as  if  they  are  not  so,  it  will  not 
slide  truly  afterwards. 

I  will  here  give  a  diagram  of  the  front  of  the 
cutter,  so  that  the  tyro  may  see  clearly  how  the 
slide  works  (Fig  19.)  At  each  side  there  is  a 
piece  which  is  bevelled,  as  shown  by  the  dotted 
lines,  and  which  keeps  down  the  slide,  but 
allows  it  to  move  from  end  to  end  by  the  screw. 
It  is  so  arranged  that  when  the  slide  is  quite  to 
one  end,  the  tool  is  central ;  and  when  at  the 
other  end,  the  tool  has,  therefore,  its  greatest 
eccentricity. 

The  forging  of  the  slide  is  longer  than 
necessary ;  but  this  is  for  ease  in  making. 
When  the  bottom  surface  and  bevels  of  the  slide 
are  quite  true,  the  corresponding  parts  of  the 
guides  may  be  filed  likewise,  so  that  when 
put  standing  on  a  surface  plate  no  light  can  be 
seen  along  the  bevels  (Fig.  20.) 

Holes  may  now  be  bored  in  the  guides 
(Fig.  19),  for  quarter-inch  screws,  and  they 
should  be  deeply  countersunk,  so  that  the  heads 
of  cheese-headed  screws  would  be  flush  with  the 
surface.  A  similar  hole  should  also  be  bored  in 
the  slide.  The  three  should  then  be  fastened 
to  the  face-plate  of  the  lathe  with  screws  passing 
through  these  holes,  and  tapped  into  the  face- 
plate. The  way  I  proceed  is  this  :  I  centre  the 
boss  for  tool-holder  in  slide,  lay  the  true  under 
side  against  the  face-plate,  and  bring  up  the 
back  centre  to  hold  it  in  its  place.  Then  I  mark 
where  screw  ought  to  be  by  hole  in  slide  (already 
bored),  drill  hole  for  screw,  and  tap.  I  have  now 
the  slide  secured  to  face-plate  with  one  screw, 
and  the  tool-holder  is  central.  I  next  get  a  thin 
piece  of  copper,  about  B^  inch  thick,  or  a  few 
sheets  of  paper,  and  put  it  under  the  guides,  and 
press  the  bevels  against  the  bevels  of  the  slide, 
while  I  mark  the  holes  for  the  screws,  drill  them, 
tap  them,  and  screw  on  the  guides. 

Fig.  21  shows  a  face-plate  with  the  slide  and 
two  guides  attached  by  five  screws.  Fig.  22  is 
the  side  view  with  packing  shown. 

Observe  that  although  this  seems  a  long  job, 
the  only  extra  work  is  drilling  and  tapping  the 
holes  in  the  face-plate,  as  the  holes  in  guides 
and  screws  would  be  necessary  in  any  case. 

Having  everything  secure,  turn  the  tool-holder, 
surface  and  edge  ;  have  them  such  a  diameter 


SIMPLE    ORNAMENTAL    TURNLNG. 


335 


Kthae 


FIG. 15 


FIC 


FIC. 23 


FIG.2I 


336 


MORE  HINTS   ON  CHINA   PAINTING. 


that  they  will  just  fit  the  recess  in  front  of  the 
body  of  the  cutter,  and  so  thick  that  they  will 
be  flash  with  the  edge  of  recess.  Bore,  also,  the 
hole  for  the  tool  \  inch  in  diameter,  so  that  it 
will  be  quite  central  with  the  periphery.  When 
this  turning  is  done,  and  the  work  finished  nicely 
with  emery  cloth,  the  screws  may  be  taken 
out,  and  the  three  pieces  dropped  into  their 
places  in  the  recess.  Holes  for  screws  for 
holding  down  the  guides  may  then  be  drilled 
and  tapped,  but  that  in  the  slide  need  not  be 
done.  One  end  of  the  slide  may  now  be  cut  off 
(that  with  the  hole),  so  that  it  presents  the 
appearance  of  Figs.  24  and  25. 

If  the  slide  be  replaced  now,  it  ought  to  move 
backward  and  forward  between  the  guides  easily, 
but  any  degree  of  tightness  may  be  got  by 
screwing  the  holding-down  screws  more  or  less 
tightly  ;  for  there  being  a  small  space  under  the 
guides,  when  theyare  pressed  down  by  the  screws, 
they  tighten  against  the  bevel  of  the  slide. 
If  there  should  be  any  little  roughness  in  the 
fit,  a  Little  grinding  material  put  in,  and  the 
slide  moved  backward  and  forward,  gradually 
tightening  the  screws,  will  soon  make  all  to 
work  smoothly. 

The  screw  for  moving  slide  is  the  next  thing 
to  make,  and  it  presents  no  great  difficulty. 
The  slide  and  guides  being  in  place,  holes  are 
bored  in  the  walls  of  the  recess,  as  at  a  b,  Fig. 
19.  The  holes  should  be  midway  between  the 
guides,  and  with  their  centres  half  the  depth  of 
the  walls  of  the  recess.  The  hole  at  a  would  be 
}  inch,  and  that  at  b  ft  inch  in  diameter.  Then 
the  slide  should  be  drill,.  -\,  by  passing  the  drill 
through  a,  to  within  about  \  inch  of  the  end, 
and  the  remainder  with  a  drill  which  will  allow 
of  a  J  inch  tap  making  a  good  thread.  The  tap 
may  be  passed  through  the  hole  a,  and  this  will 
ensure  its  entering  the  hole  at  the  end  of  the 
slide  nicely  and  truly. 

The  screw  is  a  piece  of  \  inch  steel  threaded 
almost  the  whole  length,  but  its  point  is  reduced, 
and  small  lock  nuts  are  fitted.  The  handle  at 
the  other  end  is  secured  either  by  squaring  head 
of  screw  and  rivetting,  or  by  fitting  it  to  the 
round  head,  and  passing  a  pin  through  a  small 
hole  drilled  in  handle  and  screw. 

The  job  is  now  finished.    If  a  hole  has  not 


already  been  drilled  for  the  tool,  drill  one  now, 
and  fit  a  set  screw  at  the  side,  to  secure  tool. 

If  the  body  of  the  cutter  is  gun-metal,  the 
spindle  may  be  left  soft ;  but  if  it  is  cast-iron, 
the  spindle  should  be  hardened. 

Mild  steel  or  iron  could  be  with  ease  hardened 
by  heating  to  a  bright  red,  and  inserting  in 
powdered  salammonia  and  prussiate  of  potash  ; 
then  heating  again,  and  plunging  into  cold  water. 

If  everything  has  been  fairly  well  done,  this 
cutter  ought  to  work  well,  and  last  for  a  life- 
time. 


low 


MORE   HINTS  ON  CHINA 
PAINTING. 

By  "ROUGE-DRAGON." 

N  my  opinion  it  is  a  great  mistake  to 
look  down  upon  china  painting,  and 
to  speak  of  it  contemptuously,  as  a 
form  of  art,  as  I  have  heard  one  or  two 
people  do,  who  aspire  to  what  they  consider 
higher  flights  in  the  artistic  line.  To  employ 
whatever  skill  and  invention  we  may  possess,  in 
beautifying  the  common  articles  of  daily  use, 
and  making  what  would  be  otherwise  mean, 
common-place,  and  uninteresting,  into  objects 
that  give  pleasure  to  the  eyes,  and  suggest 
fresh  ideas  to  the  mind,  is,  I  think,  a  means  of 
putting  our  powers  to  the  best  use ;  and  a 
knowledge  of  the  means  of  decorating  pottery 
and  china  will  help  our  ambition  in  this 
direction. 

The  plates,  cups  and  saucers,  etc.,  that  we 
use  every  day,  can  be  decorated  easily  and 
simply  with  some  effective  design ;  a  spray 
or  two  of  flowers  and  leaves  from  nature,  if 
you  know  enough  of  drawing  to  do  this,  is 
always  effective,  thrown  across  a  plate.  It 
should  either  be  drawn  and  painted  in  with  "  old 
tile  blue,"  or  "  rouge  chair,"  in  the  manner 
that  I  described  in  my  former  article  on  the 
subject;  or  else  it  may  be  outlined  with 
"  Vandyke  brown,"  and  the  colours  filled  in,  and 
shaded  broadly,  when  the  first  tint  is  dry.  In 
first  trying  to  paint  a  flower  in  natural  colours, 
it  is  better  to  begin  with  something  yellow,  like 
a  daffodil;  the  single  ones,  or  "Lent  lilies," 
look  especially  well  when  painted  on  china,  if 


MORE  HINTS   ON  CHINA   PAINTING. 


337 


the  colour  is  carefully  studied  from  nature. 
The  contrast  between  the  pale  delicate  tint  of 
the  outer  petals,  and  the  deep  full  yellow  of  the 
calyx,  can  be  very  successfully  imitated  in 
china  colours.  I  should  use  "  jaune  jonquille," 
put  on  very  thickly,  for  the  outside,  and  "  jaune 
orange "  for  the  inside.  The  greens  for  the 
leaves  and  stem  should  be  mixed,  as  I  said 
before,  with  orange  and  brown,  to  tone  them 
down ;  and  daffodil  leaves  are  of  such  a  blue- 
green  tint,  that  some  "  vert  bleu  riche  "  should 
be  mixed  with  the  greens  in  painting  them. 

A  background  of  either  "celadon"  or  pale 
turquoise  blue,  laid  on  smoothly  and  thinly, 
with  plenty  of  fat  oil  and  turpentine,  to  prevent 
its  drying  too  quickly,  and  then  dabbled  all 
over  with  the  "putois"  brush,  will  harmonise 
well  with  the  daffodil  colour. 

I  have  painted  a  plate  with  two  single 
African  marigolds,  one  a  deep  orange  colour, 
the  other  pale  yellow,  thrown  across  it.  The 
orange  was  of  a  reddish  tint,  and  I  succeeded 
in  matching  the  natural  flower  by  a  mixture  of 
"rouge  chair  No.  2"  and  some  tube  orange 
(Lacroix's  colour).  I  was  very  doubtful,  when 
I  made  the  experiment,  whether  these  two 
colours  would  combine  at  all;  but  when  the 
plate  returned  from  the  kiln,  and  I  unpacked  it 
with  some  trepidation,  I  found,  to  my  great 
satisfaction,  that  the  flower  came  out  of  a 
beautiful  red-orange  tint,  the  exact  colour  of 
the  natural  flower  I  had  painted  it  from.  Some 
of  the  reds  will  not  mix  with  any  other  colour. 
There  is  a  bright  brickdust  red  that  is  generally 
sold  in  the  boxes  of  china  paints,  which  is  one 
of  these,  and  I  believe  the  "  rose,"  also  sold  in 
those  collections,  is  of  the  same  disobliging 
nature ;  but  the  latter  can  be  replaced  by  the 
French  "carmine  tendre,"  which  is  a  much 
more  pleasing  tint,  and  will  mix  with  anything. 

"  Rouge  chair  "  will  mix  with  other  reds,  but 
I  think  not  with  any  other  colours ;  and 
"  pompadour  red  "  the  same. 

In  painting  plates,  etc.,  that  are  to  be  in 
constant  use,  it  is  better  not  to  put  in  a 
background,  but  to  leave  the  design  upon  the 
natural  white  glazed  ground ;  both  because  it 
is  much  simpler  to  do,  and  also  that  the  glaze  is 
never  quite  so  bright  on  the  painted  ground. 


I  have  advised,  in  beginning  the  use  of 
different  colours  together,  to  attempt  yellow 
flowers  at  first ;  after  the  daffodil,  both  single 
and  double,  the  marsh  marigold,  the  yellow  day 
lily,  the  sulphur  anemone,  yellow  marguerite, 
etc.,  all  make  lovely  designs  for  china.  I  give 
a  drawing  of  a  tile  painted  with  marguerites, 
which  I  sketched  from  the  natural  flowers  in 
the  first  instance ;  they  can  be  worked  out 
either  as  white  daisies,  on  a  background  of  pale 
celadon  green  or  "  vert  bleu  riche,"  or  in 
monochrome  blue  (old  tile  blue),  or  red  (rouge 
chair  No.  2),  on  a  ground  left  white.  Or,  again, 
the  flowers  might  be  in  yellow  on  a  chocolate 
brown  background.  A  very  good  mixture  for 
such  a  brown,  is  made  of  sepia  or  vandyke 
brown,  with  vert  bleu  riche  and  carmine  blended 
with  it.  A  good  quantity  of  each  colour  in 
powder  should  be  put  out  upon  the  palette,  and 
each  ground  down  separately,  with  the  palette 
knife  and  some  turpentine,  adding  a  drop  of  fat 
oil  to  each  when  the  powder  is  rubbed  down 
enough  not  to  be  gritty.  (Some  colours  are 
much  harder  and  rougher  than  others  in  their 
consistency,  and  are  then  better  ground  down 
with  the  glass  muller,  which  soon  reduces  the 
obstinate  lumps  that  will  not  yield  to  a  knife). 
When  each  tint  is  well  prepared  and  made  nice 
and  smooth  for  working,  they  may  all  be  mixed 
up  together  into  one  mass  (with  the  palette 
knife,  not  with  the  brush.)  When  the  whole  is 
blended  into  a  rich  brown,  a  good-sized  camel- 
hair  brush  should  be  taken  and  well  filled  with 
the  paint.  Then  lay  on  the  background  as 
smoothly  and  evenly  as  possible,  not  leaving  the 
colour  anywhere  to  dry  in  hard  edges.  There 
will  be  no  need  to  "  putois  "  this  ground,  as  it 
should  be  as  thick  and  solid  as  possible  ;  and  to 
gain  this,  it  may  be  necessary  to  put  a  second 
coat  over  the  first,  when  that  is  perfectly  dry. 
A  group  of  variously  coloured  anemones — red, 
pink,  mauve,  and  white — look  very  rich  upon 
this  deep-toned  ground.  I  give  also  the  pattern 
of  a  border,  to  be  carried  round  the  edge 
of  a  plate,  which  can  be  used  when  something 
more  formal  is  wanted.  It  is  taken  from  an  old 
Oriental  plate,  and  is  painted  in  only  one  shade 
of  deep  blue ;  outlined  with  it  first,  and  then 
filled  in  with  the  same  colour. 


338 


MORE  HINTS   ON  CHINA   PAINTING. 


A  pretty  plate  may  also  be  made  by  painting 
little  scattered  sprays  of  some  flower  in  blue,  at 
regular  intervals,  all  over  it.  Chrysanthemums 
can  be  very  well  adapted  to  treatment  of  this 
sort.     Anyone    who    is    fortunate    enough     to 


Butterflies,  beetles,  and  flies  of  all  sorts, 
make  a  quaint  and  effective  ornamentation  for 
plates  and  cups,  with  a  few  delicate  blades  of 
flowering  grass,  or  the  flower  that  each  insect 
is    supposed    to    affect    the    most ;    but   these 


FIG.    I. — TILE   PAINTED  WITH    GROUP  OF   MARGUERITES. 


obtain  one  of  the  little  Japanese  books  of 
designs  which  travellers  bring  back  with  them 
sometimes  from  that  country,  will  find  plenty  of 
suggestions  in  it  for  our  work,  both  in  geo- 
metrical patterns  and  in  slightly  conventionalised 
flowers,  more  especially  chrysanthemums. 


adjuncts  should  be  kept  in  soft  tints,  and  quite 
subservient  to  the  insect  itself.  Thus  the  red 
Admiral  butterfly  should  be  represented  on  the 
pale-green  flower  of  the  ivy,  or  with  a  sprig  of 
i  arbutus,  its  waxy  blossoms  and  red  and  yellow 
strawberry-like   fruit.     The   Fritillary  upon   a 


MORE  HINTS   ON  CHINA   PAINTING, 


339 


shoot  of  pink  bramble  flower,  round  which,  in 
the  month  of  July,  sometimes  three  or  four  of 
these  lovely  insects  may  be  seen  at  once  ;  or  a 
dragon-fly,  with  sapphire  blue  body,  and  clear 
transparent  wings,  hovering  over  a  pink  flower- 
ing rush,  or  white  arrowhead,  with  its  effective 
lance-shaped  leaves.  But  let  me  advise  anyone 
who  wishes  to  paint  butterflies,  or  any  other 
insects,  to  take  their  models  from  real  specimens, 
either  living  or  dead,  or  else  from  thoroughly 
reliable  books,  where  the  colours  are  truly  and 
faithfully  rendered  (which,  I  am  sorry  to  say,  is 
not  the  case  in  many  works  on  entomology) ; 
and  it  is  rather  terrible  to  see  the  way  that 
butterflies  are  sometimes  treated  from  a 
decorative  point  of  view,  where  colours  and 
forms  are  given  to  them  which  certainly  never 
existed  except  in  the  designer's  brain;    while 


for  painting  flowers  that  require  a  gradation  of 
red  shades. 

I  once  painted  on  a  plate  a  large  study  of  red 
gladiolii  flowers,  with  several  blossoms  on  one 
stem.  Those  low  down  the  stem  were  of  a 
dark  crimson  red,  and  this  was  matched  by 
pompadour  red,  with  a  little  purple  in  the 
shading ;  the  next  flowers  were  not  so  deep  in 
colour,  and  rouge  chair  No.  2,  shaded  with 
pompadour,  suited  them  very  well.  The  half- 
opened  buds  at  the  top  of  the  stem  were  quite  a 
pale  yellowish  red,  which  was  made  with  ivory 
yellow  and  rouge  chair  No.  2,  shaded  with  the 
red  alone.  A  pretty  grey-green  background  to 
this  flower  was  made  with  pearl-grey  and 
celadon,  mixed  and  laid  on  thinly.  I  have  seen 
a  very  dainty  tea-set,  with  sprays  of  peach- 
blossom,  painted  in  blue  monochrome,  not  in  any 


FIG.  2. — BORDER  FOR  EDGE  OF  PLATE. 


none  of  these  impossible  insects  can  bear 
comparison  with  the  many  lovely  realities  which 
we  can  study  on  any  bright  summer  day  in  the 
country. 

I  have  mentioned  two  or  three  yellows,  such 
as  "  jaune  jonquille,"  "jaune  a  meler,"  and 
"  jaune  orange,"  which  are  all  very  useful  for 
the  ground  tints  and  shading  of  yellow  flowers ; 
but  these  should  never  be  used  for  mixing 
greens,  as  they  are  too  strong  for  the  other 
colours.  Hancock's  "orange,"  in  powder,  is 
the  thing  to  use  for  the  warm  shade  in  green. 
This,  mixed  with  sepia  and  "  vert  bleu  riche," 
will  produce  almost  any  gradation  of  green  that 
is  wanted,  if  used  in  different  proportions. 
There  is  a  very  nice  "  vert  noir,"  which,  used 
with  those  already  mentioned,  gives  the  very 
deep  shade  of  green  that  is  sometimes  required 
in  finishing  a  flower  study.  ''Ivory  yellow" 
has  the  valuable  property  of  mixing  with  reds 
(either  pompadour  red  or  any  of  the  tube  reds) 


set  pattern,  but  just  as  if  a  little  flowering 
branch  had  been  thrown  down  across  a  saucer, 
or  laid  against  the  side  of  a  cup,  in  all  sorts  of 
different  positions.  Another  set  was  decorated 
with  sprigs  of  cornflower,  scattered  all  over  the 
cups,  and  painted  in  two  shades  of  blue.  These 
blues  should  always  be  of  a  dull,  subdued  kind, 
like  that  which  is  seen  in  old  china.  Any  blues 
that  are  too  bright  can  always  be  toned  down 
with  black. 

Most  valuable  lessons  in  harmonies  of  colour 
for  pottery  painting  may  be  learnt  from  the 
beautiful  Bhodian  and  Damascus  work,  that 
can  be  seen  any  day  by  a  visit  to  the  British 
Museum.  The  colours  used  in  them  are,  almost 
exclusively,  a  deep  rich  blue,  deep  purple,  pale 
turquoise  blue,  and  a  very  green  blue  ;  and  the 
effects  attained  with  these  four  shades  are  most 
exquisite.  It  is  extremely  helpful  and  instructive 
to  try  and  reproduce  these  old  designs,  abound- 
ing as  they  do  in  points  worthy  of  imitation. 


340 


TWO   FANCY  TABLES. 


TWO    FANCY    TABLES. 

By  ED.   O.  ROE,  Junr. 


(For  Illustrations  see  Folding  Sheet  presented  with  this  part.) 

]  T  the  present  time,  in  an  average  house, 
there  is  invarably  an  accumulation  of 
hric-a-brac,  all  of  which  requires  a 
position  well  adapted  to  the  purpose  of  exhibit- 
ing their  various  beauties.  Now,  it  was  to 
accommodate  such  things  that  were  seen  to  best 
advantage  when  placed  upon  a  table,  that  the 
pieces  of  furniture  illustrated  were  designed. 
They  have  served  the  purpose  admirably,  and 
will  doubtless,  in  many  cases,  fulfil  other  re- 
quirements. 

The  original  of  No.  1  was  made  of  walnut, 
dull  polished.  The  first  operation  mu9t  be 
to  obtain  and  prepare  the  top,  the  rough 
width  of  which  is  about  seventeen  inches. 
Generally  speaking,  a  piece  of  hard  wood, 
sufficiently  wide  so  as  to  dispense  with  glueing 
up,  can  be  obtained ;  but  should  it  be  necessary 
to  joint,  be  careful  to  properly  tongue.  Walnut 
tongues  need  not  be  used,  for  pine  is  preferable 
for  several  reasons,  and  afterwards  the  ends, 
where  showing,  can  be  cut  out,  and  a  piece  of 
hard  wood  inserted.  The  best  plan  of  getting 
the  fines  to  cut  the  top  to  shape  will  be  to  set 
out  the  octagon  on  a  piece  of  paper,  and  after- 
wards laying  on  the  stuff,  marking  the  points, 
and  connecting  them.  For  the  benefit  of  those 
who  are  not  mathematicians,  the  solution  of  an 
approximate  method  of  describing  a  regular 
polygon  in  a  given  circle,  is  as  follows.  We 
require  an  octagon  1 8  inches  diameter,  therefore 
describe  a  circle  9  inches  radius,  and  having 
drawn  a  diameter  (Fig.  1),  divide  into  eight  equal 
parts ;  then  with  compasses  set  to  diameter — that 
is,  the  distance  from  a  to  b — describe  two  arcs 
intersecting  at  d,  then  draw  a  line  from  d 
through  point  2  on  diameter,  cutting  the  circle 
in  e  ;  the  distance,  a  e,  is  the  length  of  side  of 
octagon  required.  Another  method  is  to  draw 
two  diameters  perpendicularly  one  to  the  other, 
and  bisect  the  quadrants ;  this  will,  of  course, 
divide  the  circumference  of  circle  into  eight 
equal  parts. 

Having  planed  the  top  and  marked  it,  cut  to 


lines,  and  plane  edges  carefully  square,  after- 
wards chamfering  with  a  chamfer  f  of  an  inch 
on,  and  T5B  of  an  inch  down.  The  legs  are  in  the 
rough  2  feet  5  inches  long,  and  taper,  when 
finished,  from  1  inch  at  top  to  §  of  an  inch  at 
bottom  (see  Fig  5). 

It  is  highly  necessary  that  an  elevation  of 
this  table  should  be  set  out  full  size,  for  by  that 
means  only  can  we  obtain  the  accurate  angle  to 
which  to  cut  the  shoulders  of  the  rails.  The 
rails  are  3  inches  [wide,  shown  in  full  size 
section  at  Fig.  2.  The  reeding  can  easily  be 
done  with  a  router  and  plough,  the  bottom 
moulding  with  plough  and  hollow,  assisted  by 
rebate  or  shoulder  plane.  It_is  not  necessary  to 
cut  shoulders  in  both  sides  of  rails.  The  position 
of  tenon  is  indicated  upon  Fig.  2. ;  of  course, 
the  mortises  do  not  run  through,  but  only  of 
sufficient  depth  that  they  meet  one  another. 
Glue,  and  wood  pins  will  hold  sufficiently,  but 
be  careful  the  pins  do  not  penetrate  the  face  of. 
work ;  perhaps  screws  would  be  preferable  to 
many.  Should  pins  or  screws  be  used,  the 
whole  of  the  holes  must  be  bored  and  tried 
before  applying  any  glue. 

To  fix  the  top,  screws  may  be  used,  the  holes 
to  take  which  must  be  bored  from  the  top  of  the 
rails  previous  to  placing  in  position.  Counter- 
sink the  holes  to  take  heads  of  screws  with  a 
gouge.  Two  screws  on  each  side,  assisted  by 
wood  blocks,  will  suffice;  or  the  top  may  be 
fastened  by  buttons,  in  which  case  the  rails  will 
require  ploughing,  and  buttons  made  with  a 
tongue  to  fit  the  groove,  and  then  screwed  to  the 
top  with  a  stout  screw  to  each. 

The  bracket,  of  which  a  full  size  elevation  is 
given  at  Fig.  3,  and  a  section  at  Fig.  4,  should 
be  prepared  a  little  longer,  to  allow  for  fitting  ; 
the  elevation  showing  only  a  square  top,  whereas 
a  bevel  will  be  made  owing  to  the  spread  of  the 
legs.  A  couple  of  fine  brads,  well  bored  for 
and  driven,  will  fix.  Now,  probably,  our  table 
when  together  will  be  rocky ;  so  a  description  of 
the  proper  way  to  surmount  this  difficulty  easily 
and  effectively  will,  no  doubt,  be  of  great  use  to 
many.  Stand  the  table  upon  an  approximately 
level  surface,  preferably  raised  from  the  ground, 
say  upon  the  bench,  and  then  pack  up  the  legs  in 
such  a  manner  so  that  the  top  of  table  is  level ; 


REVOLVING  BOOK  CABINETS. 


341 


then  take  a  pair  of  compasses  or  dividers,  and 
open  to  the  distance  that  the  shortest  of  the 
legs  is  off  the  table,  and  mark  round  all  four 
sides  of  the  other  legs,  keeping  one  point  on  the 
face  of  the  supporting  table,  while  the  other 
scratches  or  marks  the  material.  Now,  if  we  take 
a  fine  saw,  and  cut  to  our  scribing  marks, 
we  shall  find  that,  provided  our  work  is  accurate, 
and  the  surface  upon  which  we  stand  the  table 
is  fairly  accurate  as  regards  level,  the  table  will 
be  free  from  even  a  suspicion  of  rockiness. 
Remove  the  roughness  left  by  the  saw  with  a 
piece  of  fine  glass-paper. 

It  is  hoped  that  the  foregoing  description  is 
sufficiently  lucid,  and  that  many  will  be  suc- 
cessful in  making  a  good  and  satisfactory  job, 
and  thereby  be  encouraged  to  proceed  with  the 
construction  of  the  second  table,  which  is  slightly 
different  in  character. 

The  table  No.  2,  now  about  to  be  discussed, 
will  possibly  be  considered  by  many  rather 
eccentric  ;  but  let  such  persons  bear  in  mind  that 
eccentric  things  generally  are  considered  novel, 
and  novelty,  as  we  all  know,  is  a  much  sought 
after  point.  However  peculiar  the  design 
may  appear  on  paper,  it  will,  doubtless,  prove 
a  welcome  addition  to  the  furniture,  and  an 
addition  which  will  have  caused  but  little 
trouble  to  make. 

Let  us  now  begin  upon  the  actual  work.  The 
height  of  table,  it  will  be  observed,  is  above 
the  average,  namely  3  feet  3  inches.  The 
table  will  look  at  its  best  if  executed  in  pine, 
and  enamelled  sky-blue,  white,  or,  in  fact,  any 
light  tint.  As  in  the  case  of  the  previous  table, 
it  will  be  necessary,  even  more  so,  to  set  out  the 
work  full  size.  The  top  is  fifteen  inches  square, 
chamfered  on  both  edges,  as  shown  in  Fig.  1. 
The  four  legs  had  better  be  prepared  about  3 
feet  3  inches  long,  and  tapering  from  a  full  inch 
at  the  top  to  ^  of  an  inch  at  the  bottom  ;  they 
will  not  require  mortising  for  the  top  rails,  but 
only  for  the  frets  on  under  side  of  shelf. 

The  frets  underneath  the  shelf  need  only 
be  \  inch  thick,  and  if  we  provide  a  \  inch 
tenon,  it  will  be  ample.  Shoulder  on  one  side 
only,  the  front  of  course ;  therefore  mortise  the 
legs  for  \  inch  tenons. 

The  four  top  rails  and  the  four  under  frets 


must  now  be  prepared.  The  top  rails  will  be 
required  in  the  rough  about  ten  inches  long, 
but  it  will  be  preferable  to  prepare  them  in  one 
piece,  3  feet  4  inches  long,  as  then  we  shall  be 
certain  of  uniformity  in  width  and  thickness. 
The  sinkings  in  the  rails  are  shown  at  Fig.  3,  full 
size  plan  and  section.  Fitting  the  rails  will  not 
prove  a  very  serious  matter,  the  ends  being  simply 
notched  over  the  top  of  legs,  and  mitred  at 
angles,  as  shown  in  sketch.  If  we  intend 
enamelling,  they  may  be  fixed  from  the  front 
by  a  couple  of  screws,  each  end;  but  if  hard 
wood  is  used,  it  is  imperative  that  we  fasten 
from  the  back. 

The  frets  are  simply  glued  and  bradded.  The 
shelf  is  f  inch  in  thickness  finished,  and  is 
fixed  to  the  frets. 

Now  we  fasten  the  top,  adopting  the  same 
means  as  those  used  in  the  previous  table,  and 
then  proceed  to  prepare  and  fix  the  square  bars, 
which  fill  in  partially  two  of  the  four  sides. 
The  whole  of  the  rails  are  J  inch  square 
finished,  and  all  can  be  fixed  by  means  of  glue 
and  a  few  brads.  If  thought  an  improvement, 
an  additional  shelf  might  be  placed  on  the  top 
bar.  Full  size  elevation  and  thickness  is  given 
of  the  angle  brackets,  of  which  four  will 
be  required.  My  task  is  now  completed ; 
and  I  hope  this  description  may  afford  a  means 
of  utilising  profitably  a  few  spare  hours  of  the 
leisure  that  the  amateur  has  at  command. 


REVOLVING  BOOK  CABINETS, 

AND   HOW  TO   MAKE   THEM. 
By  CLERIC 'US  SECUNDUS. 


I. — Introduction  —  Material —  Framework — Shelves 
— Bars  —Feet — Plate. 

gCEHHERE  are  few  articles  of  furniture  in 
common  use,  in  which  there  is  so 
little  of  variety  or  taste  displayed  as 


those    in    which    we    are    compelled    to    stow 
away  our  books. 

Between  the  two  upright  planks  and  half  a 
dozen  shelves,  which  satisfies  the  modest 
requirements  of  some  of  us,  and  the  more 
ambitious  buffet-like  article  which  goes  by  the 
name   of   book-case,  the   distance   in   point    of 


342 


REVOLVING  BOOK  CABINETS. 


design  is  not  so  great  as  it  seems  at  first  sight ; 
and  there  the  inventive  genius  of  our  masters  in 
the  craft  seems  to  have  stopped. 

Hence  it  was  with  real  pleasure  that  at  the 
Paris  Exhibition  I  came  across  an  article  in 
that  line,  which  must  needs  bring  about  a 
"  revolution  "  in  the  book-ease3  of  such  as 
adopt  it. 

Having  "  found,"  I,  like  the  immortal  Capt. 
Cuttle  "  made  a  note  of  it,"  and  gave  myself 
no  peace  until  I  had  "  ferretted  out  "  a  mode  of 


p  a  ai 

"    [ 

0 

a 
_..„ 

a. 

T . 

u- 

D 
0 

] 

i 

b  a  an 

FIG.  \.ffljrizontal  Section,  of 'Cabinet 


Scale  2in-  7 Ft 


ML 


i 


(a.)  Side  view 


S 


c 


ill 


3 


(b)  Toj>  new 
F I C.3.Feet i.  Two  needed, 
Sca2e.-7m.~M 


making  an  externally  similar  article.  I  say 
"  externally,"  for  the  external  was  the  only 
part  revealed  to  the  vulgar  gaze ;  so  that  the 
inner  arrangements  and  revolving  apparatus  are 
my  own  contrivance. 

I  early  decided  to  give  the  readers  of  Amateue 
Work  the  benefit  of  my  discovery  (?) ;  for,  apart 
from  the  unquestionable  utility  and  convenience 
of  the  cabinet,  it  is  just  the  kind  of  article  for 
the  amateur  worker.  In  its  simplest  form  it  is 
within  easy  reach  of  even  the  beginner,  however 
limited  his  stock  of  experience  and  of  tools  ; 
whilst,  as  will  be  seen,  it  can  be  made  to  afford 


full  scope  to  the  best  efforts  of  the  fret-cutter, 
the  wood-carver,  and  wood-turner. 

Now  to  begin  :  What  shall  the  material  be  ? 
Pine,  ebonized  and  relieved  with  gilt  beading 
and  brass  screws,  would  look  well,  but  its  soft- 
ness would  lay  it  open  to  accidental  dents  and 
bruises.  Stained  walnut  would  be  handsome 
(those  in  Paris  were  of  that  material),  so  would 
polished  mahogany.  It  will  form  so  prominent  an 
article  of  furniture  when  completed,  that  I  would 
strongly  advise  one  of  the  two  latter  woods  ;  and 


FIC.2:   View  of  frame 
Scale  hn.  -7A 

if  economy  must  be  studied  in  the  matter,  then 
let  the  framework,  shelves,  and  all  the  concealed 
parts  be  of  pine,  stained  to  imitate  the  other 
wood  selected  for  the  legs,  the  top,  the  mould- 
ings, and  the  bars — in  a  word,  for  all  the  more 
visible  portions. 

As  the  possible  adaptations  and  modifica- 
tions of  the  cabinet  are  fairly  numerous,  it  will 
be  best  to  start  with  an  example  of  the  simplest 
form,  giving  a  fairly  full  description  of  the  mode 
of  putting  together,  leaving  the  modifications 
for  a  separate  paper.  As  to  size,  the  cabinet 
when  finished  will  stand  about  4  feet  high,  and 


REVOLVING  BOOK  CABINETS. 


2  feet  square.  The  shelf  room  will  be  over  18 
feet,  which,  supposing  1  inch  to  be  the  average 
thickness  of  the  volumes,  will  afford  accommo- 
dation for  some  200  books ;  a  very  nice  little 
nucleus  of  a  library,  and  even  in  a  well  assorted 
one  sufficient  to  contain  most  of  those  in 
frequent  use. 

"We  will,  therefore,  start 
with  a  book-case  of  these 
dimensions,  leaving  the 
reader  to  modify  them  in 
accordance  with  his  special 
requirements.  It  may  not, 
however,  be  amiss  to  point 
out  that  if  he  desire  to  in- 
crease the  accommodation 
offered,  it  had  better  be 
done  by  increasing  the 
number  of  shelves,  as  the 
lengthening  of  the  shelf 
would  also  increase  the 
waste  space  shown  at  a, 
Fig.  1. 

For  the  framework  the 
wood  had  better  be  1  inch 
thick  in  the  rough,  especially 
if  it  be  pine ;  if  of  hard 
wood,  or  if  the  shelves  are 
to  be  carriei  by  ledgers,  f 
inch  might  do,  as  the  strain 
is  very  evenly  distributed. 

The  four  pieces  of  which 
the  framework  is  composed 
are  3  feet  2  inches  long  and 
14  inches  across. 

As     the      amateur     will 
hardly  find  wood  so  wide, 
he  will  have  t>    begin   by 
joining    up    h's    wood    in 
as    strong    a     manner    as 
he     knows     how.      It     is, 
moreover,  absolutely  essential  that  the   edges 
should   be  shot  "  true,"  and  the  ends  exactly 
square   with  the   sides.     This  being  done,  the 
amateur  must  decide  how  he  puiposes  fixing  his 
shelves  ;  the   question    being    settled    by    the 
degree  of  skill  in  wood  working  he  may  happen 
to  possess.     The  orthodox  way  is,  I  believe,  to 


UNDER    PLATE. 


FIG.    4. 


and  there  be  glued.  If  this  be  the  mode 
selected,  it  will  be  found  convenient  to  make  the 
grooves  at  this  stage.  The  cross-lines  in  Fig.  2 
show  where  these  grooves  are  to  come  in. 

The  disadvantage  (plus  the  greater  difficulty 
of  working)  of  this  plan  lies  in  the  fact  that 
grooves  must  be  cut  on  both  sides  of  the  wood, 
exactly  opposite  to  each 
other,  and  that,  therefore, 
unless  these  be  very  shal- 
low, they  will  considerably 
weaken  the  framework. 

Still,  if  the  wood  is  1  inch 
thick  (as  it  should  be  in 
such  a  case),  and  the  reader 
feels  equal  to  making 
grooves  neatly  f  inch  wide 
and  \  inch  deep,  be  it  so  ; 
it  is  certainly  the  neatest 
way,  and  the  grooves,  if 
they  fit  the  shelves  fairly 
closely,  will  probably  be 
found  deep  enough  for  the 
purpose. 

Ihe  easier  method  is  to 
fasten  ledgers  to  carry  the 
shelves.  If  this  be  the 
method  selected,  tha  work 
may  be  postponed  to  a  later 
stage.  This  matter  being 
settled,  the  sides  must  be 
put  together  as  indicated  in 
Figs.  1  and  2.  As  will  be 
seen,  each  part  is  fastened 
at  right  angles  to  another, 
and  at  6  inches  from  the 
back  edge  of  that  other 
part.  As  it  is  of  primary 
importance    that  each  part 

A,  TOP  PLATE.  ,        . ,  ,  .  * 

REVOLVING  PLATES,   SCALE  3  IN.  TO  I  FT.    8ll0uld  be  exactly  rOOtaEgU- 

lar  with  those  to  which  it  is 
fastened,  and  as  the  accomplishment  of  this 
requisite  is  not  quite  so  easy  as  it  looks,  some  of 
my  readers  may  be  glad  of  a  wrinkle  on  that 
head.  Get  two  pieces  of  wood,  say  1  inch  thick, 
and  exactly  6  inches  square.  See  to  it  that 
the  angles  are  right  angles,  and  the  edges 
exactly  square  with  the  surfaces.      These  pieces 


rz 


C,    SECTION   OF  UNDER   PLATE. 

(NOTE. — THE  UPPER    PLATE     IS    EXACTLY  SIMILAR, 

SAVE  FOR  THE    PROJECTION    BEYOND  THE  RIM.) 


make  a  groove,  into  which  the  shelf  may  slide, 


will   exactly  fill  the    space    marked  a,  Fig.   1, 


344 


REVOLVING  BOOK  CABINETS. 


and  are  meant  to  occupy  that  space  top  and 
bottom.  Begin  by  fastening  them  temporarily 
to  one  of  the  parts  of  the  frame,  one  being  flush 
with  the  top,  the  other  flush  with  the  bottom, 
and  the  back  edge  of  the  frame  flush  with  one 
side  of  the  pieces.  Then  nail  the  other  parts 
round  the  square  pieces,  each  successive  part 
having  its  back  edge  well  up  against  the  part 
last  fastened.  The  whole  must  be  held  together 
by  screws,  driven  through  the  one  part,  and  into 
the  back  edge  of  the  other.  Reference  to  Fig.  2 
will  make  all  this  clear.  The  bottom  square 
had  then  better  be  removed,  the  top  piece  may 
remain.  Should  the  amateur  have  decided  to 
fix  his  shelves  upon  ledgers,  these  must  now  be 
fixed.  Measuring  from  the  bottom,  draw 
horizontal  lines  on  both  sides  of  the  frames,  and 
at  the  following  heights — 10J  inches,  201 
inches,  and  29J  inches.  For  ledgers  we  will 
need  twelve  strips  of  wood  13j  inches  long,  and 
twelve  only  6  inches  long  ;  £  inch  square  will  do. 
Screw  (or  otherwise  fasten)  these  to  the  frame- 
work, with  their  tops  flush  with  the  lines  drawn. 
The  top  and  bottom  of  the  cabinet  must  next  be 
prepared  and  fixed.  These  must  be  22£  inches 
square  if  the  frame  is  of  1  inch  wood  ;  22  inches 
if  the  frame  is  of  £  inch  ;  they  must  be  made 
of  carefully  jointed  stuff  (pine  will  do  here  quite 
well),  and,  like  all  the  work  in  this  cabinet,  must 
be  accurately  rectangular,  and  have  the  edges 
carefully  shot  square.  Fix  top  and  bottom  in 
such  a  way  that  their  sides  shall  be  parallel  with 
the  sides  of  the  square  piece,  which  fills  the 
hollow  space,  a  (Fig.  l),and  the  edges  exactly 
flush  with  the  outer  edges  of  the  framework 
(see  dotted  lines  in  Fig.  2). 

Next  come  the  bars.  These  may  be  of  £ 
inch  wood,  and  must  be  1  inch  broad ; 
sixteen  of  them  will  be  required,  3  feet  3| 
inches  long.  (Happy  the  man  who  possesses  a 
circular  saw  !).  It  is  perhaps  haraly  necessary 
to  point  out  that  they  must  be  cut  somewhat 
wider,  to  allow  of  planing  up  accurately  ;  but  a 
word  of  warning  on  another  point  may  not  be 
out  of  place.  Do  not  be  chary  of  using  gauge, 
straightedge,  and  square.  Much  of  the  appear- 
ance of  the  cabinet  will  depend  on  these  bars  ;  so 
see  to  it  that  they  be  all  exactly  of  the  same 
width,  as  smooth  as  the  plane  can  make  them, 


and  the  angles  as  sharp  and  square  as  possible. 
They  must  be  screwed  in  sets  of  four  to  the  top 
and  bottom,  the  first  one  of  each  set  being 
screwed  with  its  off  edge  flush  with  the  back  of 
each  "  backboard "  of  the  several  compart- 
ments, and  the  others  fixed,  between  the  first 
one  and  the  nearest  corner,  with  1  inch  of  space 
between  each  (see  Fig.  2,  a  a  a  a).  This  will 
bring  the  front  edge  of  the  fourth  exactly  flush 
with  the  corner  (see  section  of  cabinet  in  Fig. 
1.)  The  cabinet  at  this  stage  being  3  feet  4 
inches  high,  the  bars  will  be  found  to  be  \  inch 


short. 


Of  this,  \  inch  must  be  allowed  at  the 


top,  and  \  inch  at  the  bottom.  Now  prepare  the 
shelves ;  twelve  of  them  will  be  needed,  14  inches 
long  by  7  inches  broad.  Being  so  short,  £  inch 
wood  will  be  sufficient.  The  dimensions  are 
quoted  on  the  understanding  that  they  are  to  be 
fixed  on  ledgers.  If,  on  the  contrary,  the 
shelves  are  to  be  slipped  into  grooves,  they  must 
be  \  inch  longer  and  \  inch  broader.  Now 
glue  them  into  their  grooves,  or  fasten  them  to 
their  ledgers  (as  the  case  may  be),  and  drive 
screws  through  the  bars  into  the  unsupported 
end  of  each  shelf.  Eound-headed  brass  screws 
will  look  best,  both  here  and  in  screwing  the 
bars  to  the  top  and  bottom  of  the  cabinet,  care 
being  taken  to  have  them  in  a  straight  line. 
Were  it  not  for  the  look  of  the  thing,  the  top 
might  remain  as  it  is ;  but  that  is  out  of  the 
question,  and  something  must  be  done  to  finish 
it  off.  Make  a  second  top,  the  exact  size  of  the 
first,  but  of  walnut  or  mahogany,  whichever  has 
been  chosen  (£  inch  wood,  or  \  inch,  at  a  pinch, 
will  be  thick  enough),  and  at  each  corner  fix  a 
block  of  wood,  If  or  1J  inches,  according  to  the 
thickness  of  the  top.  Now  fix  this  top  to  the 
under  one  (taking  care  that  the  edges  of  both 
exactly  coincide),  by  driving  screws  from  under- 
neath into  the  corner  blocks.  Next  procure  (or 
make,  if  you  have  the  needful  moulding  plane) 
8  feet  of  moulding  1\  inches  wide,  cut  into  2  feet 
lengths,  carefully  mitre  the  corners,  and  glue  on 
flush  with  the  upper  top.  This  moulding  should 
come  down  just  as  far  as  the  tops  of  the  bars. 
This  top,  instead  of  being  fixed,  may  be  utilised 
as  a  book-rest,  by  being  hinged  to  the  lower  one. 
Should  the  idea  recommend  itself  to  the  reader, 
and  the  modus  operandi  not  be  quite  clear,  he  is 


THE  ELECTRIC  BELL. 


345 


respectfully  requested  to  bottle  up  his  impatience 
for  the  present,  as  help  in  the  required  direction 
■will  be  forthcoming  shortly. 

The  feet  (or  stand)  next  claim  our  attention. 
Two  pieces  of  wood  ■will  be  required,  2  feet  5 
inches  long,  4  inches  broad,  and  3  inches  thick. 
These  pieces  must  be  raduced  for  7  inches  from 
each  end,  to  a  breadth  and  thickness  of  2  inches. 
The  width  must  be  reduced  equally  from  each 
side,  the  thickness  reduced  wholly  from  the  top 
(see  Tig.  3).  Halve  one  into  the  other  so  that 
they  fit  closely,  and  lie  flat,  and  at  right  angles 
to  each  other.  Fasten  them  together  by  means 
of  glue  or  screws,  or  both ;  bore  a  J  hole  with 
brace  and  bit,  exactly  through  the  centre,  round 
off  the  ends,  fix  a  castor  on  to  each,  and  our 
"  stand,"  as  we  shall  henceforth  call  it,  is  com- 
plete. 

And  now  comes  the  final  and  most  important 
process.  We  must  so  mount  our  cabinet  as  to 
allow  of  its  revolving  freely  and  smoothly. 
And  here  let  me  say  that  if  any  reader  of 
A  v 4tf.tr  Woke  knows  of  a  better  method  of 
accomplishing  this  result  than  the  following,  he 
has  my  heartiest  wishes  for  his  success.  As 
already  stated,  I  do  not  know  how  the  cabinets 
I  saw  were  mounted,  and  do  not  pretend  that 
the  method  here  recommended  is  the  only  one, 
or  the  best  possible.  Hence,  the  reader  may 
adopt  it  or  replace  it  as  he  thinks  fit.  The  first 
method  proposed  will  need  the  services  of  a 
founder ;  or,  perhaps,  the  amateur  can  get  a  pair 
of  plates  from  some  friendly  cabinet  maker 
having  a  speciality  of  revolving  office  chairs. 
If  so,  they  will  answer  every  purpose.  Fig.  4, 
a  and  B  are  sketches  of  the  castings  required, 
the  faces  which  revolve  in  contact  being  shown. 
The  top  plate  (a)  is  7  inches  across,  and  the 
under  plate  (b)  9  inches  ;  the  latter  having  1  inch 
projections  beyond  the  rim,  for  the  purpose  of 
greater  security  in  screwing  to  the  feet  of  the 
stand.     Otherwise  the  two  plates  are  precisely 

similar. 

♦ 

To  Remove  Cement  from  Tiles,  cover  them 
with  spirits  of  salts,  yourself  avoiding  the  noxious 
fumes  that  arise,  and  take  care  to  use  plenty  of 
clean  water  to  wash  the  tiles  with  when  the 
acid  has  done  its  work ;  repeat  until  effectual. 


THE  ELECTRIC    BELL: 

AND    HOW    TO    CONSTRUCT    IT. 
By  JNO.  H.  MILNE. 


I.— Temperature  —  Materials  —  Swedish     Iron- 
Magnet— Cokes -Frame— Bobbins— Armature. 

N  a  former  article  we  endeavoured  to 
describe  the  manner  of  constructing 
the  simplest  kind  of  electric  bell,  so 
that  the  reader  could  enjoy  the  luxury  of 
novelty  in  having  his  bells  rung  by  electricity, 
instead  of  in  the  more  ancient  and  cumber- 
some manner. 

Although  electric  bells  made  as  previously 
described  will  be  found  to  work  very  satis- 
factorily under  favourable  circumstances,  as  the 
writer  can  testify  from  experience,  and  from  the 
fact  that  he  has  several  at  the  present  moment 
acquitting  themselves  most  creditably,  yet  they 
are  less  reliable,  under  adverse  circumstances, 
than  the  bells  upon  which  more  time  and  work- 
manship have  been  expended. 

For  instance,  if  the  circuit  through  which  the 
bell  acts  runs  through  a  region  of  comparatively 
dry,  warm,  and  even  temperature,  uncovered 
line  wire  may  be  used,  and  the  magnet  coils  may 
be  fixed,  as  before  described,  to  the  wooden  base 
of  the  bell ;  but  if  the  temperature  is  liable  to 
variations,  the  atmosphere  damp,  or  the  line  wire 
not  insulated,  a  loss  of  electricity,  or  "  leak,"  will 
occur ;  while  the  base  board  may  warp,  contract, 
or  expand,  and  so  the  relative  positions  of  the 
bell  mechanisms  will  be  disarranged ;  the  result 
being  that  the  instrument  ceases  to  act,  if  not 
altogether,  at  least,  effectively  or  reliably. 

In  the  more  expensive  class  of  bell-fitting,  the 
former  defect  of  "  leakage  "  is  overcome  by  the 
careful  insulation  of  the  line  wire  in  a  manner 
suited  to  the  particular  class  of  work  demanded, 
and  to  the  position  in  which  the  line  is  to  lie, 
while  the  latter  fault — the  bell  ceasing  to  act 
through  atmospheric  changes — is  prevented  by 
the  mechanism  being  fixed  upon  a  metal  frame, 
presently  to  be  described,  which,  notwith- 
standing variations  of  temperature,  remains 
practically  unchangeable. 

We  shall  now  proceed  to  describe  a  bell  of  a 
vol.  in.  (s.a.) — E  E 


346 


THE  ELECTRIC  BELL. 


class  superior  to  that  formerly  presented  to  the 
reader,  endeavouring  to  avoid  what  is,  un- 
fortunately, a  drawback  in  the  general  class  of 
text-books  for  amateurs,  otherwise  valuable — the 
fault  of  imperatively  directing  the  amateur  to 
use  expensive  materials  when  a  cheaper  process 
could  be  followed  quite  as  successfully,  even 
where  efficiency  is  the  chief  requisite,  and  failing 
to  explain  that  the  more  expensive  material  is 
not  an  absolute  necessity,  but  only  an  improve- 
ment, and  advisable  if  available  funds  are 
present. 

Very  probably  some  readers  may  peruse  this 
article  who  have  not  seen  its  predecessor  on  the 
same  subject,  in  last  year's  volume  ;  therefore  it 
would  be  well,  for  completeness,  to  describe 
shortly  several  of  the  processes  there  more 
particularly  treated,  at  the  same  time  referring 
the  reader  to  the  former  article  for  details. 

We  formerly  took  the  2J  inch  diameter  bell 
as  an  example,  from  its  being  the  size  mostly 
in  use  for  ordinary  purposes.  The  thickness 
of  iron  rod  for  the  cores  should  be  -fa  or  f, 
while  in  length  about  \\  inches  ;  the  measure- 
ments of  this  and  other  parts,  however,  will  be 
left  to  the  judgment  of  the  reader,  after  he  has 
benefited  by  a  perusal  of  the  tables  of  measure- 
ments given  in  the  course  of  this  article,  which, 
although  not  quite  agreeing,  yet  do  not  differ 
in  any  essential  or  material  degree. 

The  iron  to  be  preferred  is  Swedish  iron,  but 
in  any  case  soft  iron  rod  of  the  best  quality 
should  be  procured.  It  must  go  through  the 
process  of  "  annealing,"  as  formerly  explained, 
that  it  may  be  freed  from  any  tendency  to 
retain  latent  or  residual  magnetism,  i.e.,  the 
iron  must  be  heated  to  a  bright  red,  in  a  good 
fire,  and  allowed  to  cool  gradually  by  remaining 
among  the  cinders  till  the  fire  dies  out,  and  the 
ashes  are  cold,  care  being  taken  that  the  iron 
should  not,  on  the  one  hand,  be  burnt  by  exces- 
sive heat,  nor,  on  the  other,  become  too  suddenly 
chilled  by  being  taken  from  the  fire  and  exposed 
to  the  air.  The  above  being  done,  the  pieces 
or  cores  should  be  turned  on  the  lathe,  when 
the  outer  rough  black  scale  can  be  taken  off,  and 
the  cores  trued  up.  If  the  reader  has  a  slide- 
rest,  he  can  trim  them  with  greater  exactitude, 
so  that  they  will  fit  the  bobbins  to  a  nicety.     If 


no  lathe  is  at  hand,  recourse  must  be  had  to 
the  file. 

The  base,  or  cross-piece  of  the  magnet,  should 
be  made  out  of  good  annealed  iron,  say  \  or  A 
thick,  \  inch  broad,  and  should  project  beyond 
the  outer  edges  of  the  cores,  say,  \  inch.  The 
cores  should  be  so  placed  that  the  bobbins  can 
be  brought  as  close  as  possible  together.  Fig.  1 
gives  dimensions  of  magnet  drawn  to  \  full  size. 

There  are  several  ways  in  which  the  cores  may 
be  affixed  to  the  cross-piece.  It  will  be  prefer- 
able, in  the  first  place,  to  turn  down  in  the  lathe 
a  shoulder  at  the  end  of  each  core,  say  A  deep 
and  A  long.  If  it  is  intended  to  make  the 
cores  screw  into  the  cross-piece,  the  diameter  of 
the  holes  in  the  cross-piece  will  have  to  be  made 
a  little  smaller  than  the  turned  down  cores,  to 
allow  for  making  the  inside  screw.  The  turned 
down  end  of  each  core  must  now  be  "  tapped," 
or  have  a  screw  made  on  it,  by  means  of  a 
screw-plate,  and  the  corresponding  holes  in  the 
cross-piece  tapped  to  fit.  The  advantage,  if 
advantage  there  be,  in  this  plan,  is  that  the 
cores  can  easily  be  removed  without  taking  the 
coils  off  the  magnet,  or  unfixing  the  other  parts 
of  the  bell.  The  cores,  again,  may  be  rivetted 
to  the  cross-piece,  and  when  a  firm  joining  is 
made,  the  head,  or  projecting  part  at  the  back, 
can  be  neatly  trimmed  with  a  file. 

Another  method  : — A  £  inch  hole  can  be 
drilled  in  the  end  of  each  core  to  J  or  f  inch 
deep,  and  tapped  to  fit  screws  fixed  in  the  cross- 
piece,  in  which  case  a  shoulder  will  not  be 
required.  The  screw  may  be  made  detachable. 
It  really  makes  very  little  difference  what  plan 
is  followed ;  the  great  point  to  be  arrived  at 
is  to  have  the  cores  neatly  and  firmly  fixed  in 
the  cross-piece,  perfectly  parallel  to  each  other, 
and  at  right  angles  to  the  cross-piece.  Each  of 
the  cores  should  have  a  small  hole  A  inch 
diameter,  and  about  £  inch  deep,  bored  in  the  top 
end,  and  a  small  piece  of  brass  wire  driven  in  it, 
with  the  end  very  slightly  projecting  above  the 
cores.  This  is  to  prevent  the  armature  sticking 
to  the  magnet  when  the  bell  is  ringing. 

The  "  frame  "  must  next  be  made.  That  this 
should  be  done  neatly  is  a  matter  of  some 
importance,  as  the  reader  will  presently  see.  It 
is  made  of  flat  iron  £  inch  thick  and  £  inch 


THE  ELECTRIC  BELL. 


347 


broad,  and  is  usually  of  iron  cast  from  a  pattern. 
The  parts  to  which,  the  magnet  is  attached,  and 
the  upper  right  angle  for  holding  the  armature 
stand  on  edge,  while  the  lower  part,  to  which 
screws  the  contact  pillar,  is  on  the  flat  (Fig.  2). 
The    frame    is    generally   made  with   an  iron 


devised  by  the  writer  for  himself,  which  is  not 
difficult  to  accomplish,  and  will  be  found  to  be 
satisfactory. 

The  reader,  if  he  is  really  an  amateur  in  the 
better  sense  of  that  term,  will  most  probably 
desire  to  be  justified  in  saying  that  every  part 


FIG. I. 


FIG.  Ct. 


FIG.  I. — CORES  FITTED  WITH  MAGNETS  TWO-THIRDS  SIZE.  A,  IRON  CORES  SCREWED  INTO  CROSS-PIECE  ;  B,  BOBBINS  ; 
C.  CROSS-PIECE  ;  D,  HOLE  IN  CROSS-PIECE  FOR  ATTACHING  SCREW.  FIG.  2. — SHOWING  FRAME  WITH  MAGNETS  IN 
POSITION  DRAWN  TWO-THIRDS  FULL  SIZE.  A,  CORES  OR  MAGNETS  ;  B,  BOBBINS  ;  C,  FRAME  ;  D,  HOLE  FOR  CONTACT 
PILLAR  ;  E,  HOLE  FOR  SCREW  FOR  ATTACHING  ARMATURE  SPRING  ;  F,  HOLES  FOR  SCREW  FOR  FIXING  FRAME  TO 
WOODEN  BASE.  FIG.  2A. — FRAME  OF  ELECTRIC  BELL  ;  PERSPECTIVE  VIEW  OF  FRAME,  FIG.  2.  FIG.  3. — THE 
CONTACT  POST  OR  PILLAR.  A,  POST  ;  B,  ADJUSTING  SCREW  J  C,  TIGHTENING  SCREW  ;  D,  PLATINUM  POINT  ;  E,  FIXING 
SCREW.  FIG.  3A  IS  THE  SAME  AS  FIG.  3,  EXCEPT  THAT  THE  BACK  NUT  IS  MARKED  C.  FIG.  4. — ELECTRIC  BELL 
COMPLETE. — A,  MAGNET  CORES  ;  B,  BOBBINS  ;  C,  FRAME  J  D,  CONTACT  PILLAR  ;  E,  ADJUSTING  SCREW  ;  F,  PLATINUM 
POINT  OF  SCREW  ;  G,  PLATINUM  CONTACT  POINT  OF  ARMATURE  SPRING  ;  H,  ARMATURE  SPRING  ;  I,  ARMATURE  ; 
J,  HAMMER  LEVER  ;  K,  BRASS  POINTS  TO  PREVENT  CONTACT  BETWEEN  CORES  AND  ARMATURE  ;  L,  INSULATED  COIL 
WIRE  ;  M  N,  TERMINALS  +  AND  -  ;  O,  HOLES  FOR  ATTACHMENT  TO  BASE  BOARD  ;  P,  BELL  PILLAR  ;  Q,  NUT  OF  BELL 
PILLAR    FOR    HOLDING    BELL   IN    POSITION,    SHOWN    SEPARATELY    IN    FIG.  9  ;   R.  BELL. 


arm  (marked  c,  Fig.  4),  which  connects  the 
machinery  of  the  bell  with  the  bell  itself, 
forming  one  combined  iron  structure.  This 
frame,  like  the  other  parts  of  the  bell,  can  be 
bought  ready  made ;  but  if  the  reader  does 
not  care  to  purchase,  he  can  follow  the  plan 


of  his  bell  has  been  constructed  by  himself,  and 
that  he  has  not,  through  inability  or  labour-saving 
processes,  had  to  obtain  the  assistance  of  the 
professional  mechanic  by  procuring  the  ordinary 
parts  ready  made.  This  feeling  of  preference 
for  undertaking  tasks  not  absolutely  necessary, 


348 


THE  ELECTRIC  BELL. 


either  from  pure  love  of  construction,  or  from 
the  pardonable  vanity  of  overcoming  obstacles, 
is  one  decidedly  to  be  encouraged,  at  least  in 
the  earlier  stages  of  amateur  mechanics  ;  for 
although  a  first,  second,  or  even  later  attempt 
may  appear  unnecessarily  ponderous,  viewed  in 
relation  to  the  end  to  be  attained,  yet  the 
practical  information  gained  is  invaluable,  apart 
from  the  mere  successful  construction  of  the 
work  in  hand  ;  and  to  such  crude  attempts  the 
operator  may  attribute  the  easy  and  successful 
accomplishment  of  later  and  more  difficult 
undertakings.  It  is  well,  therefore,  to  describe 
some  simple  means  by  which  the  reader  may  con- 
struct this  most  important  part — the  metal  frame. 

It  is  hardly  to  be  assumed  that  he  will  attempt 
the  casting  of  iron,  unless  possessed  of  facilities 
for  manipulating  this  metal,  exceptional  in  the 
case  of  amateurs ;  so  this  course  will  be  set  aside, 
merely  remarking,  that  if  he  has,  he  may 
congratulate  himself.  If  the  reader  desires  to 
try  founding,  let  him  use  lead  as  his  metal, 
making  a  pattern  of  the  frame  from  the  wood 
of  a  cigar  box,  which  he  will  find  very  handy, 
being  in  a  measure  prepared  for  him,  as  it  is 
planed  to  a  uniform  thickness,  and  also  being 
nice  workable  wood  ;  then  make  a  mould  of 
clay  from  it,  pour  in  his  metal,  finishing  with 
the  file. 

It  is  also  a  good  plan  to  make  a  rough  model 
of  the  frame  and  coils  complete  by  cutting  from 
the  cigar  box  strips  of  the  same  thickness  as  the 
metal  frame  will  be,  gluing  them  together  to 
form  a  pattern  frame,  and  gluing  two  empty 
cotton  reels  of  the  proper  dimensions  to  the 
frame  to  represent  the  coils.  The  subsequent 
metal  frame,  owing  to  the  defects  of  calculation, 
mistakes  in  construction,  etc.,  generally  made  by 
beginners,  having  been  discovered  in  making 
the  pattern  or  model.  The  metal  counterpart 
will  then  be  more  likely  to  be  compact  and 
neat,  useless  space  and  waste  of  material  being 
prevented. 

Another  way  is  to  make  the  frame  from 
brass  strips,  the  angular  part  being  first  made 
on  the  anvil,  or  in  the  vice,  in  one  piece;  or, 
if  preferred,  by  soldering  the  angular  pieces 
together,  and  then  soldering  this  on  to  the 
flat  piece. 


He  can  also  follow  the  plan  devised  by  the 
writer  for  himself,  which  -will  be  referred  to 
later  on,  as  for  the  sake  of  clearness  the  descrip- 
tion of  the  fitting  of  the  ordinary  frame  should 
first  be  completed,  before  a  different  form  is 
presented  to  the  reader's  mind,  and  confusion 
caused  by  a  multiplicity  of  devices. 

Supposing  the  frame  be  now  made,  it  will 
appear  as  in  Figs.  2  and  2a,  the  former  being 
drawn  to  scale,  and  representing  the  cores  as 
screwed  into  the  back  of  the  frame,  which  acts 
also  as  the  cross-piece  of  the  magnet.  The 
complete  magnet  (as  shown  in  Fig.  1)  can,  of 
course,  be  easily  attached  by  a  screw  to  the 
frame.  Fig  2a  shows  perspective  of  Fig.  2 
frame  ;  holes  must  be  bored  at  a  a,  for  the  cores 
to  be  screwed  into  ;  also  at  e,  for  the  armature 
spring  to  be  screwed  to  ;  and  also  at  d,  for  the 
contact  post  or  pillar,  afterwards  to  be  described. 
f  f  are  small  holes  for  affixing  the  frame  to  the 
base-board. 

The  contact  post,  Fig.  3a,  is  a  piece  of  round 
brass  rod,  say  f  inch.  A  hole  is  bored  through 
the  side,  and  tapped.  A  screw  (b)  is  then 
made  to  screw  in  neatly,  and  project  about  f  inch 
from  the  pillar  when  the  screw  is  screwed  up  to 
the  head.  The  point  of  this  screw  is  drilled,  and 
a  piece  of  platinum  screwed  or  soldered  into  it, 
and  the  projecting  point  hammered  down  a  little, 
so  as  to  make  the  platinum  round-headed  con- 
tact point,  d.  Another  hole,  c,  is  drilled  at  right 
angles  to  the  screw  b,  and  is  also  fitted  with  a 
screw  similar  to  b.  The  contact  post  is  now 
sawn  down  from  the  top  parallel  with  the  screw 
b,  till  the  cut  comes  into  the  b  screw  hole.  The 
object  of  this  will  now  be  seen.  The  armature 
of  the  bell  works  against  the  platinum  point  d, 
which  has  been  previously  advanced  or  with- 
drawn to  suit  the  pressure  required.  The  con- 
stant vibration  against  the  point  d  has  a  tendency 
to  drive  back  the  adjusting  screw  b,  if  it  were 
not  for  the  upper  screw  c,  which  (after  the 
proper  position  or  tension  of  the  screw  b  has 
been  found  when  adjusting  the  armature)  is 
screwed  tight,  thereby  closing  the  saw  cut  at  c, 
and  causing  the  adjusting  screw  b  to  be  firmly 
gripped. 

The  screw  e  is  for  affixing  the  contact  post  to 
the  frames.     This  post  is  sometimes  made  as  in 


THE  ELECTRIC  BELL. 


349 


Fig.  3a,  and  what  is  termed  a  "back  nut"  is 
used,  instead  of  an  upper  and  right  angular 
screw. 

"When  the  proper  adjustment  of  b  is  got,  the 
nut  f  is  screwed  tightly  down  upon  the  contact 
post  a  ;  the  effect  is  to  jam  the  screw  b,  by  causing 
a  tension  on  the  metal.  The  position  of  the 
screw  f  may  be  altered,  it  being  before  the  post, 
and  screwing  down  upon  it  from  the  point. 

Now  screw  the  iron  cores  into  their  places  in 
the  frame.  Then  purchase  or  make  the  bobbins, 
to  fit  the  cores  upon  which  to  wind  the  insulated 
wire.  The  bobbins  sold  in  shops  are  usually 
made  of  boxwood,  or  some  suitable  hard  wood, 
and  can  be  purchased  ready  made  at  about  Id. 
each.  If  they  are  to  be  home  made,  and  a  lathe 
is  accessible,  they  can  be  turned  in  some  hard 
wood  without  the  least  difficulty.  The  reader, 
however,  will  find  cotton  reels  no  bad  substitute 
for  turned  bobbins,  if  he  has  no  lathe,  and 
objects  to  purchase.  Even  if  he  has  a  lathe, 
by  turning  and  adapting  the  reels,  he  will  save 
time  and  labour,  as  the  bobbin  as  it  comes  to 
hand  is  half  made. 

The  method  of  making  the  bobbins  having 
been  described  in  a  former  article,  it  is  sufficient 
to  remind  the  reader  that  they  should  be  turned 
down  to  the  shape  as  shown  in  Figs.  1  and  2, 
leaviDg  the  body  a  thin  shell,  and  the  top  and 
bottom  about  ^  inch  thick. 

For  particulars  as  to  winding,  the  relative 
merits  of  silk  and  cotton  covered  wires,  etc.,  the 
reader  is  referred  to  the  former  article. 

To  matters  concerning  sizes  of  and  proportions 
between  the  important  parts  of  the  bell,  gauges, 
and  quantities  of  wire,  price  lists,  etc.,  it  will  be 
seen  that  special  attention  has  been  given,  by 
these  points  being  treated,  for  the  sake  of  com- 
pactness, in  the  form  of  tables  in  the  next 
article,  measurements,  etc.,  for  the  same  reason, 
being  excluded  in  the  body. 

The  writer  has  made  a  special  point  of  table 
addenda,  as  he  is  convinced  from  experience  that 
the  amateur  will  find  the  same  of  immense  value, 
and  that  such  will,  no  doubt,  save  him  from 
many  mistakes  entailing  labour,  delay,  expense, 
and  annoyance  which,  unfortunately,  amateurs 
of  a  year  or  two  ago  were  victims  to,  being 
compelled,  in  a  blind  sort  of  fashion,  to  obtain 


such  information  for  themselves  by  the  costly 
and  vexing  process  of  experiment  and  failure 
till  success  followed. 

The  bobbins  and,  in  fact,  the  wire,  prior  to 
winding,  should,  as  formerly  recommended,  be 
steeped  in  melted  paraffin  wax,  to  prevent 
leakage.  It  might  here  be  mentioned  that  if 
the  wire  is  steeped  in  the  hot  wax,  strained,  and 
immediately  run  on  the  bobbins  while  warm, 
the  bobbins  can  be  wound  more  neatly  and 
closely  than  if  the  wire  is  allowed  to  cool,  and 
the  wax  becomes  clogged  and  thick.  The  wind- 
ing completed,  the  bobbins  are  placed  on  the 
cores,  upon  which  they  should  slide  smoothly 
yet  exactly.  The  iron  cores  should  project 
about  \  inch  beyond  the  tops  of  the  bobbins. 

The  armature  comes  next ;  this  is  made  of 
the  best  soft  iron,  thoroughly  annealed.  The 
dimensions  will  be  found  given  in  the  tables. 
As  will  be  seen  from  Fig.  4,  it  is  sufficiently 
long  to  project  over  each  pole. 

The  Armature  Spring. — This  can  either  be  of 
steel  or  brass.  If  the  former  be  used,  the 
mainspring  of  a  clock,  |  inch  broad,  will  be 
found  to  be  very  suitable,  filed  down,  of  course, 
to  the  necessary  strength.  A  broken  one  can 
be  bought  at  any  watchmaker's  for  a  penny  or 
twopence ;  in  fact,  as  broken  springs  are  utterly 
useless  in  clockmaking,  they  are  willingly  given 
away  for  nothing.  If  steel  be  used,  holes  can 
be  punched,  and  the  rough  edges  trimmed  up 
with  a  file.  If  brass  be  used,  the  holes  can  be 
drilled. 

The  holes  in  the  spring  are,  of  course,  for 
the  purpose  of  attachment,  made  to  correspond 
with  the  holes  in  the  armature  and  the  frame. 
The  appearance  of  this  part  will  be  as  in  Fig.  4, 
which  gives  plan  of  complete  frame  and  bell 
attachment.  A  piece  of  platinum  wire,  about 
the  thickness  of  copper  wire  of  16  or  18  inches, 
B.  "W.  G.,  price  Is.  to  Is.  3d.  per  inch,  and  J-  inch 
long,  or  just  sufficient  to  project  slightly  on 
each  side  of  the  spring,  is  inserted  in  the  small 
hole  at  g  ;  this  is  hammered  as  a  rivet,  till  a 
good  flat  head  is  made  on  the  upper  and  lower 
sides  of  the  spring,  and  the  platinum  is  firmly 
fixed.  It  may  be  well  to  solder  the  under  side 
of  the  platinum  also,  which  will  prevent  the 
rivet  loosening.     The  platinum  head,  which  will 


350 


A   MAGNETIC  LEAF  TURNER. 


work   against   the   platinum  point,    f,    can   be 
finished  by  being  smoothed  with  sandpaper. 

In  order  to  complete  the  armature,  a  hole 
about  \  inch  should  be  bored  in  the  bell  end  of 
the  armature,  and  tapped  so  that  the  hammer- 
lever,  j,  may  screw  into  it.  This  lever  can  be 
soldered  on ;  but  for  convenience  in  fitting,  it 
will  be  found  a  better  plan  to  tap  the  hammer- 
lever,  in  order  that  the  armature  may  be 
detached  at  pleasure.  It  will  be  as  well  to  make 
a  screw  on  the  other  end  of  the  lever,  to  screw 
on  the  hammer-head,  which  makes  neater  work 
than  soldering. 


A  MAGNETIC  LEAF  TURNER. 


By  ALF.    BEAN. 


HE  idea  of  using  mechanism  for  the 
purpose  of  turning  over  the  leaves  of 
music  and  other  books,  has  evidently 
occurred  to  many  ingenious  minds  in  this 
inventive  century  ;  that  is,  if  one  may  judge  from 
the  number  of  devices  to  be  found  amidst  the 
contents  of  those  Patent  Office  volumes  com- 
prising that  subject.  And  may  I  here  suggest, 
by  the  way,  that  the  above  class  of  literature 
may  be,  perhaps,  worthy  a  little  more  atten- 
tion than  is  usually  given  to  such  technical 
records.  To  a  reflective  mind,  even  the  most 
unsound  ideas  may  furnish  material  for  valuable 
conceptions;  and  suggestions,  I  firmly  believe, 
may  be  there  obtained,  which  will  become  of 
vastly  greater  use  than  the  original  patentee 
ever  anticipated. 

Most  ingenious  are  the  plans  proposed  in  that 
collection  for  the  transmission  of  leaves — if  only 
they  did  but  possess  that  indispensable  merit  of 
simplicity.  A  defect,  too,  which  they  seem  to 
possess  in  common,  is  their  inability  to  turn 
over  more  leaves  than  the  number  of  attachable 
pieces  (whether  balls,  wires,  or  clips  are  used, 
the  fault  is  the  same)  contained  in  the  machine ; 
the  number  of  these  I  have  never  found  to  be 
more  than  sixteen ;  very  often  only  four  are 
present. 

Observing  this,  I  was  led  to  attempt— with 
what  success  the  following  description  will  show 
—a  something  which  should,  without  the  neces- 


sity of  any  "winding-up,"  or  other  preparation, 
be  always  ready  for  immediate  action.  For  a 
time — in  accordance  with  precedent,  I  suppose 
— I  failed  to  obtain  this  desideratum.  That 
which  I  at  length  succeeded  in  accomplishing,  I 
place  before  you,  trusting  you  may  find  as  much 
pleasure  and  profit  in  its  construction  as  did 
the  designer. 

I  do  not  propose  to  occupy  any  space  in  treat- 
ing of  the  stand  proper,  although,  of  course, 
without  that  support,  the  "  Magnetic  Leaf 
Turner "  would  be  of  no  use  whatever.  I 
think,  however,  that  by  studying  carefully  the 
preceding  parts  of  Amateur  Work,  you  may 
make  yourself  fully  equal  to  the  building  of 
that  simple  structure  without  help  from  me.  It 
is,  moreover,  exceedingly  unlikely  that  I  could 
design  a  stand  equally  acceptable  to  the  whole 
of  my  readers,  who  will,  of  course,  have  their 
own  general  ideas  as  to  the  required  solidity,  or 
otherwise,  of  the  support,  leaving  out  of  con- 
sideration those  who,  having  already  one  or 
more  suitable  stands,  merely  wish  to  affix  the 
leaf-turning  apparatus. 

The  mechanism  of  the  latter  is  all,  I  think,  of 
a  very  simple  character,  so  that  the  amateur 
need  not  be  afraid  of  exercising  upon  it  his  know- 
ledge, however  slight,  of  the  mechanical  arts. 
I  will  just  roughly  describe,  therefore,  the  action 
of  this  device,  and  then  immediately  give  the 
methods  I  have  found  best  in  its  construction. 

On  the  centre  strip  of  the  music-stand — a 
fragment  of  which  is  shown  in  the  sketch,  Fig. 
1,  and  which,  you  will  notice,  is  continued 
downwards  for  about  three  and  a-half  inches 
below  the  bar  on  which  rests  the  music, — on 
this  strip  is  fixed,  in  suitable  bearings,  a  screw 
of  a  very  long  pitch.  By  pressing  down  the  nut 
encircling  this  screw,  the  latter  is  made  to  per- 
form a  half  revolution,  carrying  around  with  it 
the  long  arm  (a),  which  is  attached  to  its  upper 
end.  The  unattached  extremity  of  this  hori- 
zontal rod  is  provided  with  that  wonderful  power 
whose  name  I  have  taken  the  liberty  to  borrow 
for  the  purpose  of  enriching  my  title  ;  I  mean, 
of  course,  the  magnet,  which,  in  the  present 
instance,  is  used  to  attract  to  its  poles  small 
clips,  which  have  been  previously  fastened  to 
the  lower   edges  of  the  leaves  to  be  turned. 


A   MAGNETIC  LEAF  TURNER. 


351 


Herein,  by  the  way,  lies  some  portion  of  my 
claim  as  an  improver  on  the  designs  of  my 
predecessors  :in  this  interesting  subject  ;  the 
clips  being  exceedingly  thin,  and  also  entirely 
independent  of  the  machine  itself,  enables  each 
leaf  of  every  book  you  possess  —if  you  so  desire 
— to  be  thus  decorated.  This  method  makes  it, 
of  course,  merely  necessary  to  place  the  book  on 
the  stand,  where  it  is  ready  for  the  action  of  the 
machine  without  any  further  preparation. 


of  the  leaf,  from  which  position  its  automatic 
extraction,  without  the  removal  at  the  same  time 
of  the  clip,  would  form,  as  you  may  readily 
realise,  a  very  difficult  problem. 

In  order  that  the  leaf  may  not  be  left 
altogether  in  the  lurch,  however,  at  this  point, 
the  same  action  which  caused  the  depression  of 
the  magnet  is  made  to  present  at  the  back  of 
the  sheet  a  push  (a,  Fig.  3),  which  is 
employed  until  the  leaf  is  taken  completely  over. 


FIG. 2. 
FIG.  I. — PORTION"    OF  STAND   SHOWING  ACTION   OF   LEAF  TURNER.      FIG.    2. — THE  SCREW  ADAPTED  FROM   ARCHIMEDEAN 
DRILL.      FIG.  3. — ELEVATION   AND   PLAN   OF  LONG  ARM,  AND   ITS  APPENDAGES.      FIG.  4. — BRASS  ARC.      FIG.   5.— HOOK. 
FIGS.    6  AND  7.— SUPPORTS  FOR  ACTION.      FIGS.   8,    9,    10. — SUGGESTIONS    FOR  CLIPS.      (FIG.    I,   QUARTER  FULL-SIZE  ; 
FIGS.   2  TO  IO,   HALF  FULL-SIZE.) 


To  proceed,  however,  with  the  said  action : 
the  long  arm,  after  having,  by  the  above- 
mentioned  means,  taken  the  leaf  one-half  its 
journey,  is  made,  by  means  of  a  suitable  catch,  to 
turn  in  its  bearings,  thus  causing  the  magnet  to 
fall  away  from  the  leaf ;  this  enables  the  former 
to  pass  below  the  bar  on  which  rests  the  book, 
instead  of  being  detained  at  the  now  under  side 


The  above  proceedings,  though  taking  so 
many  words  to,  I  fear  but  imperfectly,  report, 
are,  of  course,  completed  during  the  second  of 
time  during  which  the  foot  is  pressed  upon 
the  pedal  connected  with  the  principal  nut. 
When  this  pressure  is  removed,  a  small  spring 
causes  the  arm,  after  having  of  course  left 
behind  its  harmonious  passenger,  to  make  the 


352 


A  MAGNETIC  LEAF  TURNER. 


return  journey,  in  readiness  for  another  similar 
trip. 

Passing  on  now  to  the  manufacture  of  this 
leaf  turner,  we  may  take,  as  our  starting  point, 
the  centre  of  the  movement,  viz.,  the  screw  (Fig. 
2) ;  and  for  this  you  cannot  do  better  than 
obtain  one  of  those  small  but  useful  tools  sold, 
under  the  name  of  the  "  Archimedean  Drill," 
for  about  6d.  From  one  of  these  you  must  cut  a 
length  of  3  J  inches,  turning  or  filing  down  \  inch 
at  each  end,  to  a  diameter  of  A  inch,  a  further 
\  inch  being  reduced  to  a  diameter  of  \.  This 
latter  portion  should  have  a  small  screw-thread 
cut  around  it.  The  other  end,  to  a  distance  of 
\  inch  from  the  shoulder,  must  then  be  filed 
flat,  £  inch  hole  being  drilled  through  the 
screw  in  the  centre  of  this  flat,  for  the  reception 
of  the  long  arm. 

For  this  portion  (Fig.  3)  of  the  apparatus  we 
shall  require  a  piece  of  A  steel  wire,  8 
inches  long,  which  should  be  bent  at  the  point, 
e,  to  the  angle  shown  in  that  sketch.  It  must 
then  be  turned  down  at  the  bent  end  to  &  inch 
diameter,  a  thread  being  cut  on  the  extremity 
for  the  reception  of  a  small  nut.  About  f  inch 
at  the  other  end  should  also  be  reduced  a  little, 
in  order  to  enable  it  to  turn  easily  in  the  hole 
which  you  have  drilled  for  its  reception  in  the 
screw,  the  depth  of  which  hole  you  must  now 
mark  off  from  the  shoulder  of  the  turned  portion 
of  the  horizontal  arm. 

From  this  mark  you  may  then  cut  a  screw- 
thread,  extending  to  the  end,  to  fit  which  a 
suitable  nut  should  be  formed. 

Now  cut,  from  a  piece  of  thin  sheet  brass,  the 
push  (a,  Fig.  3),  and  screw  it  at  right  angles  to 
the  long  arm,  3  inches  from  the  end  destined  to 
receive  the  magnet.  Also  cut  from  the  same 
metal  the  semicircular  piece  (Fig.  4),  to  form 
the  two  catches.  Bend  this  strip  at  right  angles 
at  the  point  marked  a,  then  screw  it  on  the  arm, 
1  inch  from  the  shoulder,  at  the  end  intended 
to  be  inserted  in  the  screw,  being  very  careful 
in  doing  this  to  have  the  two  arcs  point  as  in  the 
two  sketches.  As  an  additional  guide,  I  may 
point  out  that  the  end  elevation  of  the  two  arcs, 
with  the  push  and  the  magnet,  should  form, 
when  first  arranged,  an  unequally  limbed  cross. 
The  arm  is  completed  by  drilling  and  tapping  a 


small  hole  in  the  centre  of  the  bent  portion, 
through  which  must  be  inserted  the  screw,  o, 
after  having  provided  it  with  the  oblong  washer 
shown  in  the  illustration. 

We  had  better  now  obtain  a  piece  of  -|  brass- 
wire,  about  10  inches  long,  to  form  an  additional 
support  to  the  long  arm.  The  ends  of  this  rod 
having  been  hammered,  until  they  are  each  at 
least  J  inch  broad,  the  one  end  may  be  drilled 
and  tapped  to  fit  the  screw  (Fig.  2)  above  the 
pivot  at  a.  At  the  other  extremity  a  suitable 
bearing  must  then  be  provided,  for  the  reception 
of  the  magnet  end  of  the  horizontal  rod,  after 
which  bend  the  wire  similarly  to  that  shown  in 
Fig.  1,  manipulating  it,  moreover,  so  that  when 
the  long  arm  is  placed  in  its  appointed  position, 
with  the  nuts  secured,  it  may  turn  quite  freely 
at  each  end. 

Before,  however,  finally  fixing  this  arm  in 
place,  a  spring  must  be  fitted  to  the  screw.  This 
spring  may  easily  be  made  from  a  little  piano 
wire,  which  should  be  wrapped  around  a  pencil, 
or  other  round  piece  of  wood  or  metal,  of  rather 
larger  diameter  than  that  of  the  screw.  The 
coils  should  not,  however,  be  made  close 
together,  but  at  a  distance  apart  of  about -|  inch , 
as  it  is  a  pushing,  not  a  pulling,  spring  we 
require. 

After  surrounding  the  screw  with  the  spring, 
which  should  be  2-J  inches  long,  place  over  it 
the  nut  which  formed  a  part  of  the  now  muti- 
lated drill,  after  which  the  arm  may  be  put  in 
proper  position,  and  secured  by  the  nuts.  Now 
procure  a  narrow  strip  of  brass,  the  length  and 
form  of  half  the  circumference  of  the  large  nut, 
to  the  top  rim  of  which  in  fact  it  should  be 
secured  by  means  of  small  screws  passed 
through  the  hooped  ends.  The  points  at  which 
this  strip  should  be  attached,  lie  immediately 
under  the  course  of  the  long  arm  when  the  nut 
has  been  turned  about  £  inch  from  the  top  of 
the  screw.  The  hook  (Fig.  5)  must  now  be 
formed  from  a  3-inch  piece  of  brass  wire.  Its 
shank  should  be  screwed  into  the  centre  of  the 
before-mentioned  strip  of  brass. 

For  the  supports  of  the  action,  cut  two  pieces 
of  sheet  brass  A  inch  thick,  one  to  the  form 
shown  in  Fig.  6,  the  other  to  that  of  Fig.  7  ; 
bend  these  at  right  angles  at  the  lines   a  a  a, 


A   MAGNETIC  LEAF  TURNER. 


353 


and  countersink  holes  at  b  b.  The  holes  at  c 
are  for  the  reception  of  the  pivots  of  the  screw, 
and  must  be  drilled  accordingly. 

You  may  now  screw  the  longer  piece  to  the 
projecting  strip  of  the  music  stand,  the  angle  a 
to  the  bottom  edge,  afterwards  cutting  a  slot  in 
the  wood  to  correspond  with  the  one  in  the 
brass  support.  The  screw,  with  its  accessories, 
must  then  be  placed  in  the  bearing  of  the  piece 
just  affixed,  the  hook  being  pushed  through 
the  slot,  after  which  screw  on  the  other  bracket, 
with  the  limb,  d,  lowermost. 

The  pedal  merely  consists  of  a  strip  of  suit- 
able wood,  hinged  at  one  end  to  the  foot  of  the 
music-stand.  Through  a  hole  bored  in  the 
other  extremity  of  this  foot-board  a  cord  should 
then  be  passed,  its  end  being  screwed,  or  other- 
wise fastened,  to  the  underside.  The  other 
extremity  of  this  cord  may  then  be  secured  to 
the  hook  which  is  suspended  from  the  nut. 
Of  course,  if  preferred,  a  metal  rod  might  be 
substituted  for  the  cord,  and  would  undoubtedly 
give  better  results.  In  that  case  the  hook 
would  be  unnecessary,  the  rod  being  screwed  at 
one  end  direct  to  the  semicircle  of  brass  which 
partially  surrounds  the  large  nut,  and  at  the 
other  to  a  smaller  nut  affixed  to  the  under  side 
of  the  pedal. 

The  magnet,  although  of  course  a  necessary 
feature  of  the  machine,  need  not  be  a  very  large 
one.  I  have,  indeed,  attained  very  good  results 
from  the  use  of  one  of  those  penny  ones  sold  at 
the  toy  shops,  though  perhaps  it  would  be  as 
well  to  defer  any  experiments  with  these  until 
the  automaton  becomes  thoroughly  at  one  with 
its  business.  This  magnet,  which  is  placed,  as 
you  will  notice,  around  the  screw  c  (Fig.  3), 
between  the  washer  and  the  long  arm,  must 
always  be  protected,  when  not  in  use,  by  the 
armature  sold  with  it,  otherwise  the  contained 
magnetism  will  rapidly  disappear.  Tou  had 
better,  therefore,  drill  a  small  hole  through  this 
useful  piece  of  iron,  and  suspend  it  by  a  short 
piece  of  silk  to  the  stand. 

And  now  a  word  on  the  clips  for  affixing 
to  the  music  leaves.  These,  formed  from  the 
thinnest  so-called  tin  you  can  procure,  should  be 
cut  to  some  simple  pattern  ;  such,  for  instance,  as 
Figs.  8,  9,  10.     I   have  said  "  so-called  tin," 


simply  because  the  substance  sold  under  that 
name  is  in  reality  merely  sheet-iron. 

As  material  for  the  clips,  you  may  also  use, 
with  good  effect,  I  think,  those  fancy  biscuit 
boxes,  where  you  have  designs  ready  drawn  and 
coloured  to  your  hand.  "Whichever  you  choose, 
however,  be  careful  to  leave  with  a  projecting 
point  at  each  side  of  the  clip,  as  in  the  sketches, 
the  intention  being  to  bend  the  said  points  at 
right  angles,  and  pass  them  through  the  paper 
at  the  same  distance  from  the  crease  as  that  of 
the  magnet  from  the  screw,  where  they  may  be 
pressed  down. 

"When  describing  the  semicircular  attach- 
ment to  the  long  arm,  for  convenience  in  ex- 
planation I  said,  you  will  remember,  that  it 
should  be  bent  at  right  angles.  This  angle, 
however,  must  now  be  slightly  modified,  in 
order  that  the  magnet  and  push  may  take  up 
the  best  possible  position  for  their  work.  The 
horizontally  projecting  are  must  be  slightly 
depressed,  in  order  that  the  poles  of  the  magnet 
may  be  made  to  lean  over  a  little  towards  the 
leaf,  the  extremity  of  the  right-hand  pole  only 
touching  the  clip.  You  will  then  find,  I  think, 
that  when  the  leaf  is  in  the  act  of  being  turned 
over,  the  clip,  through  the  hanging  back  of  the 
free  upper  corner  of  the  leaf,  will  take  the  same 
plane  as  the  magnet,  which  would  not  be  the 
case  were  the  latter  to  lie  perfectly  vertical  in 
the  first  instance. 

The  other  limb  of  the  arc  must  be  arranged 
so  that  the  push  will  be  made  to  rise  to  a  per- 
pendicular position  when  the  arm  which  causes 
that  movement  is  caught  by  the  projection  on 
the  upper  bracket.  Should  the  extremity  of  the 
arc,  when  past  that  projection,  display  a  ten- 
dency to  drop,  screw  a  small  piece  of  wood  on 
the  stand  to  the  left  of  the  screw,  in  such  a 
position  that  it  may  abut  against  the  correspond- 
ing quarter  circle,  and  thus  cause  the  proper 
position  to  be  maintained. 

This  is  all  the  adjustment  that  should  be 
required;  but  may  I,  before  bringing  this 
description  to  a  termination,  take  the  liberty  of 
reminding  you  that  this  automaton  will  need 
occasionally  a  very  little  oil.  If  this  be  granted, 
I  shall  have  no  fear  in  leaving  to  the  custody 
of  my  readers  the  "  Magnetic  Leaf  Turner." 


354 


AN  "OVER-PIANO." 


AN    "OVER-PIANO." 

By  PEDAGOGUE. 

HE  title  of  this  paper  is,  I  believe, 
somewhat  new ;  but  seeing  that  we 
have  an  over-mantel  and  an  over-door, 
why  not  have  an  over-pianoj?  It  is  a  fact  well 
known  that  a  piano  should  be  entirely  free  from 
the  duty  of  bearing  ornaments,  etc.,  since  the 
enormous  strain  of  its  internal  arrangements  is 
as  much  as  it  can  endure  for  any  lengthened 
period.  Yet  how  often  do  we  see  it  either  piled 
up  with  music,  or  turned  into  a  show-case  for  a 
number  of  ornaments  or  photographs,  which, 
however  much  they  may  please  the  eye,  are 
very  apt  to  offend  the  ear  and  the  temper  of  the 
musician.  To  avoid  this,  I  thought  it  possible 
to  make  a  long  bracket  or  ornamental  shelf,  to 
carry  the  load  usually  allotted  to  the  piano. 

What  I  produced, 
and  how  I  produced 
it,  shall  now  be 
given  for  the  bene- 
fit of  the  readers  of 
"  Ours." 

First  obtain  the 
wood  ;  walnut  if  you 
like,  though  a  good 
piece  of  deal  will 
look  very  well.  It 
will  require  a  board  4  feet  8  inches  long, 
1  inch  thick,  and  6J  inches  wide ;  also  about  3 
or  4  feet,  of  the  same  sort,  for  ripping  into  strips 
1  inch  wide  for  the  turned  work,  and  £  inch 
wide  for  the  rails  above  and  below  the  pilasters. 

It  consists,  as  may  be  seen,  of  a  principal 
shelf  3  feet  G  inches  long  (Fig.  2),  and  an  upper 
one  (Fig.  3),  1  foot  2  inches.  Cut  the  4  feet 
8  inches  board  in  two  to  form  them.  Cut  and 
square  the  ends  truly,  but  let  them  be  1  inch 
shorter  than  the  above  lengths,  because  we 
want  to  hide  the  end  grain  with  a  \  inch  strip 
glued  on.  Never  mind  about  mitred  corners, 
as  they  will  be  cut  away. 

Four  posts  will  be  seen,  two  at  either  end  of 
the  long  shelf.  These  are  1  inch  square  and 
6  inches  long.  Before  they  are  cut  the  exact 
length,  it  will  be  much  better  to  have  them  in 
one  piece,  with  a  little  to  spare  ;  in  fact,  use  one 


FIG.  I. — THE   OVER-PIANO    COMPLETE. 


of  the  ripped  strips,  and  having  planed  and 
squared  it,  proceed  to  work  the  bead  on  three 
sides  for  half  the  strip,  and  one  side  only  for  the 
other  half,  with  the  scratch  tool  (a  most  useful 
tool  which  every  amateur  can  make  for  himself 
in  half  an  hour  or  so.)  File  the  blade  to  the 
shape  of  Fig.  4,  and  while  at  the  filing  make  two 
others  like  Fig.  5. 

The  making  of  the  tool  and  method  of  using 
can  be  found  in  several  back  numbers,  so  re- 
petition is  unnecessary.  If  the  workman  has 
never  used  one,  a  little  practice  on  odd  pieces  of 
wood  will  enable  him  to  run  a  similar  bead  round 
the  front  and  ends  of  the  shelves,  which  will 
greatly  enhance  the  look  of  them.  Of  course, 
all  may  be  left  square,  but  a  somewhat  heavy 
appearance  will  result. 

Two  taller  posts,  14  inches  long,  to  support 
the    top   shelf   at   the  back,    have   a   bead    on 

their  faces.  These 
are  also  an  inch 
square.  Then  there 
are  the  rails  above 
and  below  the  pilas- 
ters, made  of  the  £ 
inch  strips  with  a 
bead  scratched  with 
iron,  Fig.  5a,  on  one 
side,  enough  for  the 
top  rail  at  the  back 
and  bottom  rail  at  the  ends,  and  on  both  sides 
for  the  top  rail  at  the  ends.  The  bottom  rail  at 
the  back  may  be  left  plain.  The  only  remaining 
square  work  is  the  piece  for  the  short  posts, 
2  inches  long,  at  the  front  corners  of  the  top 
shelf,  beaded,  like  those  for  the  lower  shelf,  on 
three  sides  ;  the  frame  for  the  fretwork  panel  of 
£  inch  wood,  and  beaded  with  iron,  Fig.  5b, 
and  mitred  at  the  corners;  and  a  plain  rail 
under  the  top  shelf,  instead  of  above  it. 

It  will  be  necessary  now  to  go  to  the  lathe  for 
an  hour  or  two,  and  use  up  the  remainder  of  the 
ripped  strips  in  turning  two  pillars  (Fig.  6), 
to  support  the  upper  front,  also  twenty-one 
pilasters  (Fig.  7),  and  twenty-one  terminals  (Fig. 
8) ;  a  piece  about  8  inches  long  (pattern  Fig.  9), 
for  holding  panel  frame  in  position,  will  also 
be  wanted. 

The     turning    finished,    the    fretwork    next 


AN  "OVER-PIANO." 


355 


FIC.6. 
Pillar  % 

hWsae 


FIC.3. 
Top  shelf.  7m,-  Ifoot . 
Dots  show posbtum,  of  pilasters. 


F\G.^.Scr<rtditool.  ffuJlsixe. 


K1 


ir^g: 


Ao 


'MS' 

71 


0 
OA 


F\G.Z.£ottcm,shelf.7m-tt.I/<&^lwesfiem7igrail~bebHp3a£ters.A 


„        FIG.  12,% 
Sedumorpcst.ps. 


356 


ELECTRIC  LIGHTING   FOR  AMATEURS. 


demands  attention.  The  panel  (Fig.  10)  is  to 
be  left  white,  so  should  be  a  nice  piece  of  deal 
or,  better  still,  lime  or  holly  \  inch  thick,  and 
the  brackets  above  the  top  shelf  (Fig.  11)  may 
be  somewhat  thicker,  say  f  inch. 

The  designs  are  modifications  of  some  given 
in  back  numbers ;  and  I  here  acknowledge  my 
indebtedness. 

Having  prepared  all  the  parts,  proceed  to  fit 
together.  Take  the  corners  out  of  the  shelves, 
an  inch  square  for  the  posts,  also  two  pieces, 
same  size,  out  of  lower  shelf,  for  the  tall  back 
posts  (see  Figs.  2  and  3).  The  bottom  rail  may 
be  glued  to  the  shelf,  or  fastened  with  brads, 
but  the  top  one  must  be  mortised  into  the  posts. 
A  bottom  rail  need  not  be  put  on  the  upper  shelf, 
but  under  it.  Use  one  of  the  pilasters  to  find 
the  place  for  mortising.  Observe  that  the  posts 
are  to  project  below  the  shelf  \  inch. 

The  pilasters  are  fitted  into  holes — the  bosses 
at  the  end  being  turned  for  that  purpose.  To 
bore  these  holes  a  turning  gouge  is  very  useful. 
Be  careful  to  set  them  an  equal  distance  apart, 
two  at  each  end,  six  on  either  side  at  the  back, 
and  five  on  top  shelf. 

The  9-inch  pillars  are  fitted  in  the  same 
way,  \\  inches  from  the  edge  of  shelf,  and 
exactly  opposite  the  centre  of  the  back  posts. 
These  latter  may  be  screwed  to  the  shelves. 
All  the  other  fixing  should  be  with  glue,  fresh 
and  hot.  The  brackets  should  be  flush  with  the 
ends  of  the  top  shelf. 

It  only  remains  now  to  fix  the  little  knobs  at 
each  end  of  the  posts,  and  along  the  top  rail,  and 
to  fasten  the  frame  of  panel  in  place,  using  the 
turned  piece  (Fig.  9),  taking  care  to  get  it  in 
the  centre.  A  glance  at  the  drawing  will  show 
how,  combined  with  a  skilful  use  of  the  glue  pot. 
Put  the  panel  on  one  side  till  the  staining  and 
varnishing  are  finished,  and  then  fix  it  with  little 
triangular  blocks  at  the  back,  allowing  it  to 
stand  about  the  centre  of  the  frame  ;  that  is, 
about  §  inch  from  the  face. 

Stain  to  accord  with  piano — walnut,  maho- 
gany, etc.  ;  size  twice,  and  varnish.  It  may  be 
suspended  on  two  brass-headed  nails,  under  the 
top  rail,  or  by  the  plates  sold  for  the  purpose. 

If  any  point  be  not  clear,  it  will  be  made  so 
in  the  Council  columns. 


ELECTRIC    LIGHTING    FOR 
AMATEURS. 

By  GREGOR1E  EDOUIN  BEY. 


-Introductory  Considerations— The  Value  of 
Electric  Lights— Lighting  Powers,  etc. 

IN  devising  a  system  of  electric  lighting 
suitable  to   amateurs,   we    must    be 
guided  by  several  facts  arising  out  of 
the  situation  in  which  we  find  ourselves.    These 
facts  do  not  always  appear  on  the  surface,  but 
have  to  be  elicited  by  enquiry.    For  example,  we 
may  receive  a  letter  which  reads  thus  : — "  I  wish 
to  light  up  my  workshop  with  the  electric  light. 
Will  you  please  tell  me  how  many  lamps  I  shall 
want,  and  how  I  am  to  work  them  ?  "     Nothing 
in  this  letter  tells   one  the  size  of  the  work- 
shop, the  appliances  at  the  command  of  the 
workman,  or  his  proficiency  in  electrical  science  ; 
all  of  great  importance  to  us  in  giving  instruc- 
tions. Until  we  know  the  size  of  his  workshop,  we 
cannot  tell  how  many  candle  power  of  light  he 
will  require  to  properly  light  it ;  until  we  know 
the  shape  of  his  workshop,  we  cannot  tell  how 
many  electric  lamps  he  will  require,  nor  how 
these  should  be  distributed.     Without  a  know- 
ledge of  the  appliances  at  his  command,  we  can- 
not advise  him  how  to  work  the  lamps,  nor  can 
we  properly  instruct  him  in  the  use  of  those 
appliances,  unless  he  first  tells  us  how  much  he 
knows  about  the  working  of  electrical  apparatus. 
If  he  is  the  happy  possessor  of  a  small  steam 
engine,  gas  engine,  or  water  motor,  we  can  advise 
him   to  use   it  in  driving   a  dynamo   electric 
machine,  to  furnish  current  for  his  lamps  ;  but 
we  must  first  know  the  surplus  power  at  his  com- 
mand, before  we  can  tell  him  how  much  light  he 
will  get  out  of  his  engine.    By  surplus  power,  is 
meant  all  the  power  over  and  above  that  required 
to  drive  the  lathe  or  other  machinery  in  his 
workshop.     If  he  is  handy  with  tools,  and  can 
work  fairly  well  in  iron  and  brass,  we  should 
advise  him  to  make  up  his  own  dynamo  electric 
machine;  but  if  not  a  good  workman  in  these 
metals,  he  should  buy  a  machine  ready  made, 
because  these  machines  will  not  give  satisfactory 
results  when  put  together  in  a  slipshod  manner. 
A  man  who  can  do  some  metal  turning  and 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


357 


fitting  fairly  -well,  should  buy  the  castings  and 
rough  parts  of  a  machine,  and  build  up  the 
parts  himself.  There  are  several  makers  and 
vendors  of  these  parts,  doing  a  good  business  in 
dynamo  castings  ;  consequently,  any  castings  and 
parts  for  machines,  of  many  various  types,  and 
in  a  large  variety  of  sizes,  can  now  b9  obtained 
at  reasonable  prices. 

On  no  account  should  he  allow  himself  to  be 
tempted  into  buying  a  battery  to  furnish  current 
for  lighting  up  a  workshop  or  the  room  of  a 
dwelling.  Batteries  for  electric  lighting  have 
their  proper  work  and  sphere,  which  will  be 
noticed  further  on  ;  but  this  is  not  in  the  work- 
shop. The  electric  energy  obtainable  from  a 
battery  is  got  by  oxidising  zinc  in  the  battery 
cells,  and  zinc  is  a  very  costly  fuel ;  the  electric 
light  obtainable  from  a  battery  is,  therefore, 
much  more  costly  than  any  other  artificial  light 
in  use  for  domestic  purposes.  Batteries  are  also 
very  messy  and  troublesome  to  keep  in  order, 
when  used  for  electric  lighting  on  anything  like 
a  large  scale. 

Some  amateurs  write  in  the  following  strain  : 
'■  I  have  a  five-candle  power  lamp  ;  will  you 
please  tell  me  how  many  batteries  I  shall  want 
to  light  this  lamp  ?  " 

"We  can  see  at  once  that  this  man  knows  little 
or  nothing  about  electrical  apparatus,  and,  there- 
fore, should  be  first  taught  some  of  the  rudi- 
ments of  electrical  science.  How  can  we  show 
him  that  there  is  an  almost  infinite  variety  of 
electric  batteries,  very  few  of  which  are  in  any 
way  suitable  to  the  work  of  generating  current 
for  electric  lighting  ?  Also,  that  an  electric  bat- 
tery is  made  up  of  several  cells,  and  therefore 
he  should  ask,  "how  many  cells?"  instead  of 
•'how  many  batteries."  If  he  has  carefully 
read  the  excellent  articles  on  "  Galvanic  Bat- 
teries," by  Mr.  Allan  Traynor,  he  will  have 
learnt  something  about  their  variety  and  uses, 
and  should  know  that  there  are  few  constant 
current  batteries  suitable  to  this  work.  How 
shall  we  also  explain  that  electric  lamps  of  five- 
candle  power  so  far  vary  in  their  construction, 
even  when  made  by  the  same  person,  as  to 
require  from  three  cells  of  the  most  powerful 
battery,  up  to  thirty-three  cells  of  the  same  bat- 
tery, to  get  the  full   light    from    the    various 


lamps  ?  Therefore,  before  we  can  say  how  many 
cells  it  will  take  to  light  up  a  lamp  of  a  given 
candle  power,  we  must  also  know  the  voltage  of 
the  lamp,  or  the  resistance  of  its  filament. 
Makers  and  vendors  of  lamps  generally  name 
the  voltage  of  the  lamps,  together  with  their 
candle  power,  and  some  of  the  best  makers  mark 
the  voltage  on  the  lamp  bulbs. 

Again,  come  letters  asking  how  many  electric 
lamps  can  be  lit  up  by  a  certain  named  or 
described  battery,  or  dynamo  machine.  Such 
questions  as  these  are  almost  useless  in  helping 
one  to  formulate  a  useful  reply  ;  not  only  should 
the  battery  be  named  or  described,  but  also  the 
number  and  size  of  its  cells,  and  the  plates  in 
the  cells.  The  dynamo  must  also  be  described ; 
that  is,  we  must  not  only  know  the  type,  but 
also  the  size  of  its  field  magnets  and  its  armature, 
and  the  weight  and  gauge  of  wire  wound  on 
them  both,  separately.  "We  must  also  know 
whether  the  wire  is  wound  in  series,  or  in  shunt, 
or  in  a  compound  manner,  before  we  can  deter- 
mine the  lighting  capabilities  of  the  machine. 

Few  persons  are  able  to  correctly  value  the 
light-giving  capabilities  of  an  electric  lamp. 
Most  of  us  have  been  so  long  acquainted  with 
powerful  gas-lights  and  paraffin  lamps,  giving 
from  sixteen  to  twenty-five-candle  power  lights, 
as  to  know  little  or  nothing  about  the  value  of  a 
five-candle  power  electric  light.  We  even  think 
a  ten-candle  power  light  no  better  than  a  rush- 
light, because  we  have  lost  a  correct  notion  of 
the  value  of  a  rush-light,  in  comparison  with 
the  lights  of  the  present  day.  We  also  take 
our  notion  of  a  candle  from  the  composite 
candles  in  general  use,  and  imagine  a  five-candle 
power  lamp  as  giving  a  light  equal  to  five  of 
those  candles.  As  a  matter  of  fact,  the  light 
given  from  one  composite  candle  is  much 
superior  to  that  from  a  standard  sperm  candle, 
such  as  those  employed  in  testing  the  candle 
power  of  electric  lamps.  Then,  again,  the  light 
from  electric  lamps  is  dazzlingly  clear  and  pure, 
when  compared  with  that  of  candles.  The  light 
from  gas,  and  from  oil,  is  more  mellow  and 
agreeable  to  the  eyesight  than  that  of  an  electric 
lamp,  and  we  must,  perforce,  place  such  a  lamp 
out  of  our  direct  line  of  vision,  or  temper  its 
dazzling  rays  with  a  shade,  to  render  it  bearable 


358 


A    WRINKLE  FOR  BANJO-MAKERS. 


to  the  eye ;  this  lessens  its  value  in  our  estima- 
tion when  we  see  it  for  the  first  time,  and  leads 
us  to  form  an  erroneous  opinion  concerning  its 
merits.  Notwithstanding  its  dazzling  brilliance 
and  consequent  danger  of  hurting  the  eyes,  the 
electric  light  is  far  superior  to  any  other  in  point 
of  coolness  and  purity.  An  incandescent  electric 
light  cannot  in  any  way  contaminate  the  air  in 
a  room,  because  its  glowing  filament  is  enclosed 
in  an  air-tight  globe  ;  the  heat  of  such  a  lamp  is 
also  said  to  be  one-tenth  that  of  a  gas-light  of 
equal  power. 

Let  us  first  see  what  can  be  done  with  incan- 
descent electric  lamps  to  light  up  a  room ;  we 
shall  then  be  able  to  estimate  its  value.  This 
will  be  seen  at  a  glance  in  the  following  table : 

TABLE    SHOWING     LIGHTING-    POWER    OF 
INCANDESCENT    ELECTRIC    LAMPS. 


EQ 

Dimensions  op 

Room 

Lamps 

a  a  g  « 
a  ■$  £  2 

in  Feet. 

Required. 

o 

Length. 

Width. 

Height. 

10    CD. 

16  c.p. 

Ft.  In. 

15 

12 

12 

3 

2 

8    0 

18 

18 

lb 

6 

4 

8    6 

24 

24 

17 

10 

7 

9    6 

33 

33 

23 

16 

12 

10    0 

36 

36 

32 

25 

19 

12    6 

52 

52 

40 

40 

30 

14    0 

This  table  will  serve  as  a  guide  to  those  about 
to  light  large  rooms  where  the  lamps  are  sus- 
pended above  the  heads  of  its  occupants,  and 
there  are  no  objects  to  interfere  with  the  light, 
or  to  cast  shadows.  In  a  long  narrow  workshop, 
with  a  low  ceiling  or  low  pitched  roof,  we  shall 
require  a  proportionally  larger  number  of  lamps. 
It  will  also  be  seen  that  we  get  a  better  effect 
from  a  large  number  of  ten-candle  power  lamps 
than  from  a  smaller  number  of  sixteen-candle 
power  lamps,  whose  aggregate  candle  power 
may  be  greater.  This  shows  that  the  light  may 
be  more  equally  diffused  by  distribution  over  a 
larger  space.  Where  there  are  several  benches 
or  several  machines  in  a  long  narrow  workshop, 
each  needing  a  separate  light,  we  shall  probably 
require  two  ten-candle  power  lamps  to  each 
bench,  and  the  lamps  will  have  to  be  enclosed 
in  an  opalescent  globe,  or  otherwise  have  their 
direct  rays  diverted  from  the  eyes  of  the  work- 


man.    Electric  lights  are  hurtful  to  the  eyes 
when  placed  close  to  them. 

Having  decided  on  the  number  and  candle 
power  of  the  electric  lamps  to  be  employed  in 
lighting  the  room,  let  us  next  see  how  much 
power  it  will  take  to  work  them ;  this  is  easily 
ascertained  by  finding,  first,  how  much  electric 
energy  is  needed  to  develop  a  light  of  one-candle 
power,  and  multiplying  this  figure  by  the  total 
candle  power  of  the  lamps  to  be  employed.  In 
the  Edison-Swan  lamps  it  takes  three  and  a-half 
"Watts  of  electric  energy  to  develop  one  candle 
power  of  light ;  suppose  now  we  wish  to  employ 
ten  lamps  of  ten-candle  power  each  lamp,  the 
total  candle  power  will  be  100,  and  the  electric 
energy  needed  to  light  the  lamps  will  be  350 
Watts.  As  746  Watts  of  electric  energy  repre- 
sent one-horse  power,  we  have  only  to  divide 
350  by  746,  and  add  ten  per  cent,  to  balance  loss 
by  friction,  resistance,  etc.,  to  get  the  actual 
indicated  horse  power  required  to  drive  the 
dynamo  lighting  up  the  lamps,  which  will  be  in 
this  instance  a  trifle  over  half-horse  power. 

The  power  needed  to  light  up  a  smaller  or  a 
greater  number  of  lamps,  may  be  calculated  in 
a  similar  manner,  always  bearing  in  mind  that 
small  dynamo  machines,  like  small  steam  engines 
and  small  gas  engines,  are  not  nearly  so  efficient 
as  larger  ones,  and  consequently  recede  from  the 
ideal  of  theoretic  efficiency  as  they  decrease 
in  size. 

In  my  next  paper  I  propose  giving  a  short 
description  of  some  dynamo  electric  machines 
suitable  to  the  wants  of  amateurs  intending  to 
take  up  electric  lighting  as  a  hobby. 


A    WRINKLE    FOR    BANJO- 
MAKERS. 

By  "  OMADAVN." 


M.0NGST  the  readers  of  this  magazine, 
no  doubt  the  amateur  banjo-makers 
number  not  a  few ;  for  besides  being 
very  popular  as  a  (shall  I  say)  musical  instru- 
ment, it  adapts  itself  conveniently  to  the  resources 
of  the  amateur  workshop ;  so  that  I  hope  the 
following  wrinkle  may  prove  of  use  to  some  of 
my  fellow-readers. 


A    WRINKLE  FOR  BANJO-MAKERS. 


3,»9 


It  goes  without  saying,  I  think,  that  for 
any  banjo  to  be  worth  playing  upon,  it  is 
essential  that  the  vellum  be  stretched  over 
something  more  than  the  rounded  edge  of  a 
wooden  hoop,  which,  at  the  best,  gives  a  thick 
muffled  sound,  and  not  the  sharp  clear  ring  that 
is  obtained  from  a  metal  one.  Now,  there  are 
various  different  patterns  of  metallic  hooped 
banjos,  patent  and  otherwise,  many  makers 
having  their  own  special  pattern ;  but  I  sup- 
pose the  one  most  generally  known,  is  that 
which  I  believe  is  called 
the  "Stewart"  pattern, 
and  consists  of  a  metal  hoop 
spun  over  a  wire,  top  and 
bottom,  and  lined  with  wood 
(as  shown  in  section  at  Fig. 
1).  To  make  this,  however, 
is  beyond  the  powers  of 
the  average  amateur ;  and 
although  the  metal  hoop 
can  be  bought  with  the 
edges  spun  ready  for  lining, 
it  at  once  runs  up  the  prime 
cost  of  our  materials,  pro- 
bably about  10s.,  whereas  a 
wooden  hoop,  in  the  rough 
of  course,  but  steamed  and 
bent  to  a  circle,  can  be 
bought  for  Is.  To  make  a 
hoop  from  the  solid  metal 
is  also  rather  an  under- 
taking, besides  being  open 
to  the  further  objection  of 
being  very  heavy  ;  and  the 
question  therefore  is,  how 
can  we  make  a  really  good- 
toned  banjo  with  the 
means  and  appliances  at 
our  command?  This,  I  think,  I  may  claim 
to  have  satisfactorily  solved,  by  forming  a  wire 
rim  to  rest  on  the  edge  of  the  wooden  hoop 
simply,  the  vellum  being  stretched  over  it  as  if 
they  were  in  one  piece  ;  by  which  means  I  obtain 
a  similar  result  to  the  "  Stewart "  rim,  and  the 
construction  is  really  very  simple.  It  will  be 
more  easily  understood,  perhaps,  by  reference  to 
Fig.  2,  which  shows  the  banjo  head  in  section. 

The  hoop  is  of  oak,  darkened  and  polished, 


FIG. I. 


FIG. 3 

FIG.  I.— SECTION  OF  "  STEWART"  KIM.  A,  WOODEN 
HOOP  LINING  I  B,  STEEL  WIRES  ;  C,  PLATED 
METAL  SPUN  OVER  WIRES  B  B.  FIG.  2. — BANJO 
HEAD  IN  SECTION.  A,  VELLUM  ;  B,  WIRE  KIM  J 
C,  WOODEN  HOOP.  FIG.  3.  — SHOWING  METHOD 
OF  JOINTING   WIRE. 


the  fittings  being  plated,  which,  to  my  thinking, 
is  preferable  to  having  the  hoop  and  fittings  all 
bright ;  but  this,  however,  is  a  matter  of  taste, 
and  the  hoop  can  be  covered  with  a  thin  strip  of 
plated  metal  if  desired.  The  wire,  which  is  of 
white  metal,  is  about  A  or  J  inch  in  diameter  ; 
the  exact  size  is  not  very  material,  but  if  too 
stout,  there  will  be  some  difficulty  in  bending  it 
to  the  required  shape,  though  probably,  when 
bought,  it  will  be  cut  from  a  coil,  and  have  a 
circular  form,  so  that  it  will  only  be  necessary 
to  reduce  it  to  such  a  size 
as,  when  completed,  to  fit 
nicely  upon  the  edge  of  the 
wooden  hoop.  The  ends  of 
this  wire  should  overlap 
about  \  inch,  and  be  halved 
top  and  bottom  (as  shown 
at  Fig.  3) ;  the  joint  should 
be  soldered,  and  a  small 
rivet  put  through ;  it  can 
then  be  smoothed  up  with 
a  file  and  emery  paper,  and 
the  wire  burnished.  When 
putting  on  the  vellum  head, 
it  is  only  necessary  to  tie 
the  metal  rim  on  to  the 
edge  of  the  hoop  with  three 
or  four  pieces  of  fine  gut ; 
an  old  first  string  is  just 
the  thing,  and  when  you 
have  a  few  brackets  in 
place,  say  three  on  each 
side,  cut  and  pull  them 
out ;  then  put  in  the  rest 
of  your  brackets,  and  screw 
up  in  the  usual  way,  and 
you  will  find  that  the  wire 
rim  is  held  firmly  and 
immovably  in  its1  place.  By  following  this 
method,  you  will  have  a  banjo  that  will  give  a 
clear  metallic  ring,  and  one  that  is  really  worth 
playing.  I  have  made  several  upon  this 
principle,  and  am  now  playing  one  in  place  of  a 
banjo  with  an  attractive  name,  which  I  formerly 
used;  and  do  not  regret  the  change,  but  congratu- 
late myself  in  so  far  as  I  have  transformed  an 
instrument  of  indifferent  tone  and  quality  by 
such  inexpensive  means. 


360 


NOTES  ON  NOVELTIES. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


]HE  AMATEUR.— (Zilles  &  Co.,  24  and  26, 
Wilson  Street,  Finsbury,  London,  E.C.)  The 
May  part  of  the  above  magazine  is  enriched 
with  two  pattern  sheets,  one  showing  the 
details  of  full-size  fretwork  designs  for  a  card-box,  the 
other  representing  a  window  flower-box,  also  full-size.  This 
latter  is  appropriate  to  the  season  when,  as  the  descriptive 
text  says,  "  We  pay  greater  attention  to  the  plants  where- 
with we  decorate  our  windows."  The  patterns  are  both 
handsome,  and  will  be  gladly  welcomed  by  the  fretworker. 
Photographic  Catalogue. — Messrs.  Lancaster  &  Son, 
Birmingham,  are  issuing  a  list  of  photographic  requisites, 
the  tasteful  and  expensive  "  get-up "  of  which  at  once 
proclaim  it  an  edition  de  luxe  among  literature  of  the 
catalogue  class.  The  appearance  of  the  catalogue  is  not, 
however,  its  sole  recommendation,  as  a  great  deal  must  be 
said  for  its  contents,  which  are  such  as  will  prove  eminently 
instructive,  and  somewhat  alluring,  to  the  amateur  who 
has  money  to  spend  in  the  purchase  of  a  photographic 
outfit.  One  page  alone,  "  How  to  Select  Photographic 
Apparatus,"  is  worth  considerably  more  than  the  price  at 
which  the  book  is  marked  (4d.),  conveying  as  it  does  words 
of  guidance  to  the  beginner ;  yet  there  are  64  pp.  in  all, 
which  are  devoted  to  the  description,  prices,  and  illustra- 
tion of  the  goods  the  firm  are  able  to  supply. 


AMATEUR      WORK 

PRIZE    SCHEME. 

XIII. — A  prize  of  One  Guinea  is  offered  for 

THE  BEST  SPECIMEN  OF  PORTRAIT 

PHOTOGRAPHY. 
XIV. — A  prize  of  One  Guinea  is  offered  for 

THE  BEST  SPECIMEN  OF  LANDSCAPE 

PHOTOGRAPHY. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  June  29th,  carriage  paid,  and  addressed 
— The  Editor  of  Aiiatede  Work,  Warwick  House, 
Salisbury  Square,  London,  E.C. 

(3).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
(except  MS.)  must  enclose  an  addressed  label.  If 
the  article  is  to  be  returned  by  parcel  post,  the 
label  must  be  fully  stamped ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 


(5).  The  prize  may  be  withheld  if,  in  any  competition,  lesB 
than  three  competitors  enter. 

(6).  The  decision  of  the  Editor  shall  be  final. 


RESULT  OF  COMPETITION. 

XI. 


Three  Prizes  of  £1  10s.,  £1,  and  10s.,  respectively,  for 
the  three  best  Artistic  Picture  Frames  for  En- 
gravings or  Photographs. — When  I  announced  the 
well-worn  subject  of  picture  frame  making  for  a 
competition,  I  believed  that  in  that  kind  of  work 
lay  the  aim  and  end  of  a  great  deal  of  amateur 
ambition,  and  I  said  to  myself,  there  will  be  a  brisk 
contest,  and  a  close  run  for  the  first  place.  I  even 
became  anxious  lest  the  adjudication  should  land 
me  in  a  difficulty  the  like  of  which  I  should  be 
unable  to  overcome,  for  I  thought  that  so  large  a 
number  of  good  specimens  would  be  sent  in,  that  to 
say  which  was  the  best  one  among  them  would  be 
well-nigh  impossible ;  but  my  anticipations  of 
bewilderment  were  not  realised,  for  the  best . 
specimen  stood  out  conspicuously  among  its  fellows, 
and  I  was  relieved  of  all  anxiety.  The  choice  of 
cork  as  a  material  seems  to  have  been  pretty  general 
among  the  competitors,  a  preference  that  may  be 
accounted  for  in  the  fact  that  it  is  of  uniform 
texture,  not  hard  to  work  with,  and  requires  only  a 
sharp  knife  to  manipulate  it.  Perhaps  the  maker 
of  the  frame  which  I  have  choBen  as  worthy  of  the 
first  prize,  had  this  idea  present  with  him  when  he 
designed  a  picture  frame  to  be  built  up  of  so  many 
pieces.  I  dare  say  that  he  thought  to  be  conscientious 
with  tractable  material,  he  must  be  elaborate  ;  there- 
fore he  used  1,8S4  pieces  of  cork  in  this  piece  of  work 
of  bis.  This  frame,  which  I  have  selected  to  takt 
first  place,  is  constructed  in  two  parts,  the  outer 
one,  whereon  are  placed  cork  cubes,  forming  a 
checker  pattern,  and  giving  very  bold  effect ;  and 
the  inner  frame,  or  mount,  covered  with  J-inch 
segments  of  wine  corks,  placed  round  edge  upper- 
most, and  arranged  in  courses  with  an  effect  like 
basket-weaving.  Apart  from  being  a  triumph  of 
patience  over  a  tedious  taBk,  this  frame  is  really  an 
artistic  object,  and  I  award  the  maker  of  it,  Mr. 
Robert  Slaughter,  13,  Merton  Road,  Stamford  Road, 
Kensington,  the  sum  of  £1  10s.  None  worthy  to 
take  second  place  appearing,  I  withhold  the  second 
prize  of  £1,  and  paBs  on  to  the  group  of  frames,  to 
Belect  from  among  them  one  deserving  the  third 
prize.  I  find  one  oval  in  shape,  constructed  of 
cedar,  and  embellished  with  an  inlaid  scroll  design 
(not  original),  and  in  size  suitable  for  a  cabinet 
photograph.  It  is  a  creditable  piece  of  work,  and  I 
award  its  maker,  Mr.  A.  Willis,  359,  Moas  Lane 
East,  Manchester,  the  third  prize  of  10s. 


AMATEURS  IN   COUNCIL. 


861 


AMATEURS  IN  COUNCIL. 


OPE.V   TO   ALL  HEADERS. 


Pin  Puzzle  Box. 
"  Eetep  "  is  glad  to  bear  of  "  H.  J. 
W.'s  "  success  in  making  the  pin  puzzle 
box  described  on  page  50  of  the 
present  volume.  An  improvement 
might  be  made  by  rivetting  a  bent 
spring,  a  b  c,  at  a  to  the  back  of  the 
box.  This  will  be  readily  understood 
on  reference  to  Figs.  1   and  2,  which 


FIC. 3  . 

show  the  box  closed  and  open, 
respectively.  Another  good  plan  would 
be  to  make  the  springs,  0  b  a  and  x 
(Fig.  5,  page  50)  in  one  piece,  and  no 
rivets  would  be  required  (see  Fig.  3). 
It  will  be  seen  that  B.  does  not  reach 
the  bottom  in  this  case.  On  page  50, 
in  the  fifteenth  line  from  the  bottom, 
"  x  "  is  a  printer's  error  for  "  v." 

Secondary  Battery. 
"E.  S." — I  have  searched  the  volumes 
of  the  Old  Series  of  Amateur  Work, 
but  cannot  find  any  article  on  the 
Accumulator  or  Secondary  Battery.  It 
is  possible  that  an  article  upon  the 
subject  will  be  given  in  the  course  of 
the  next  Volume. 


Organ  Building. 
R,  C.  H  — 

Scale  por  Stopped  Flute, 
Width.    Depth.       Length 

without  cap. 
in.  in.  in. 

OC  ...  If  ...  If  ...  25 
Tenor  C  if  ...  L&  ...  12J 
Middle  C1  £  ...  JA  ...  6J 
0*  ...   ^  ...    ^      ...      3 

C3  ...    A    ...&bare...     1J 

Height  of  mouths,  rather  more  than 
|  of  the  width. 

Scale  foe  Clakibella. 
Width.     Depth.       LeDgth 

without  cap. 
in.  in.  in. 

Middle  C1  li  ...  If  ...  21 
C  ...  «    ...   if       ...     10 

O^  ...   £    ...    f         ...     4£ 

Height  of  mouths,  bare  j  of  width. 
The  cost  (approximate)  of  the  two 
stops  made  from  these  scales  would  be 
5s.  6d.  This  would  not  include  the 
price  for  the  pipe  feet.  If  bought  in 
London,  these  run  sixteen  or  eighteen 
pence  per  dozen.  I  reckon  that  a 
stopped  flute  takes  22  feet  of  pine,  and 
a  claribella  from  C1  takes  17  feet; 
using  £  inch  for  the  six  largest  notes  of 
each  stop,  and  f  inch  for  the  remainder. 
If  you  have  the  two  books  you  name 
on  voicing,  make  two  or  three  pipes, 
and  voice  them  after  your  own  fashion 
in  different  ways.  A  little  practice  is 
worth  all  the  book  reading.  It  is  most 
difficult  to  give  many  directions  on  the 
subject.  To  a  great  extent  it  is  a 
"  knack,"  the  result  of  long  experi 
ence.  Chromatic  pitch  pipes  would  be 
of  no  use  to  you  to  tune  your  organ 
by.  You  will  have  to  "  lay  the 
bearings"  in  fifths  and  octaves,  like 
other  tuners  do,  and  work  from  that. 
It  is  a  rather  tedious  job,  and  takes  a 
long  time  for  a  novice  to  get  them 
right. — Organ  Builder, 

"Organ"    (Hull).— The  lengths  of 
Wald  Flute,  4  ft.  tone,  are  : — 
Tenor  C  ..     1   ft.    9    in. 

Mid.Ci  ...  lOiin. 

C2  ...  4f  in. 

C3  ...  2    in. 

The  Piccolo  Scale  at  C  0  should  be 
lj>j  inches  wide,  If  inches  deep,  and 
1  ft.  10£  inches  in  length.  Tenor  C, 
\\  incheB  wide,  and  1  inch  deep. 

The  Doppel  Flute  is  stopped  (see 
the  bottom  of  the  first  column  on  page 
249). 


A  Tinsmith's  Gauge. 
H.  J.  W.  (Chicago,  la.,  U.S.A.) 
sends  us  the  following  useful  item:  — 
"A  tinsmith's  gauge  is  a  great  saver 
of  time,  and  is  an  article,  I  believe, 
unknown  to  your  readers  ;  the  writer 
having  seen  it  (when  in  England)  used 
the  first  and  last  time  by  a  tinsmith 
liviDg  in  the  vicinity  of  Newport, 
Monmouthshire,  when  it  at  once  struck 
him  as  a  useful  device.  Thinking 
that   more   than  one  of  your  readers 


FIC.  I 

might  like  to  be  a  possessor  of  one 
of  these  simple  articles,  I  submit 
herewith  a  Bketch  of  same,  which  will, 
I  think,  convey  the  idea  as  to  how  it  is 
made,  without  much  description.  We 
first  require  a  piece  of  No.  10  steel 
wire,  2  feet  in  length ;  at  one  end  of 
this  a  scratcher  is  forged,  like  that 
shown  at  A,  in  Fig.  1.  The  guard  is 
next  to  be  prepared,  which  consists  of 
a  piece  of  tin  1J  inches  square,  the 
corners  being  cut  off,  and  a  hole 
punched  in  centre  for  it  to  pass  easily 
along  the  wire,  which  is  shown  in  Fig. 
2,  also  at  b,  in  Fig.  1 .  Now  slide  your 
VOL.  III.  (n.S.) — P  P 


362 


AMATEURS  IN  COUNCIL. 


guard  on  wire,  and  next  turn  a  ring 
about  \h  inches  diameter,  when  jour 
gauge  is  completed.  Pig.  3  will  tend 
to  illustrate  how  it  is  manipulated,  A 
being  meant  to  represent  a  sheet  of  tin.' 

Slow  Speed  for  Lathe. 
J.  P.  Grazebrook  writes: — "The 
question  is  often  asked,  How  can  I 
get  a  slow  speed,  suitable  for  turning 
cast  iron  on  my  lathe,  which  has  not 
back  gearing,  but  only  the  slow  speed 
on  the  fly-wheel  ?  I  enclose  a  sketch  of 
a  plan  I  have  adopted  to  a  3J  inch 
angular  bar  lathe,  and  which  I  find 
answers  very  well.  A  is  a  pinion  on 
the     fly  wheel    shaft,    of    forty   teeth, 


being  short,  and  the  pulleys  small  in 
diameter.  By  making  the  band  short 
at  first  you  can  regulate  it  a  little  in 
the  gearing  of  the  wheels. 

Rehabilitation  of  Piano. 
H.  W.  W.  (  Wimborne). — In  repairing 
a  pianoforte  action,  we  are  governed  in 
a  great  measure  by  the  method  upon 
which  the  action  is  constructed.  In 
some  cases  hammers  are  centred  upon  a 
wire  passing  through  the  entire  series, 
and  then  repairs  are  a  difficult  matter 
for  an  amateur  ;  in  others,  hammers  are 
affixed  by  separate  hinge  pieces ;  and  I 
will  assume  yours  are  hung  that  way, 
!  therefore  the  job  will  be  a  simple  one, 


working  into   B,  an  intermediate  wheel 
of     fifty     tenth.     (This   wheel   is     not 
absolutely   required;    but   as  I   always 
use  a  balance  weight  on  my  fly-wheel, 
it  makes   the  treadle   to   work  jn   the 
usual  way,  towards  you.)     c  is  a  wheel 
of   120  teeth,  and  on  this  wheel  is  a  I 
wooden  pulley,  just   missing  in  size  the 
pitch  line,  and  brought  forward  just  to 
miss  the  slow  speed  on  the  fly-wheel,  [ 
and   to  be   in  a  line   with   the  largest 
pulley,  on  the  mandrel,     e   is  a  plain 
casting  with   two  slots,  to  regulate  the  i 
wheels,  and  to  slide  them  out  of  gear 
when  not  required  ;  it  also  acts  as  the 
holding-down  plate  for  the  headstock.  | 
I  use  a  larger  gut  band  than  usual,  as  j 
I    find  the   band   must   be   very   tight,  j 


requiring  only  a  certain  quantity  of 
material,  a  little  skill,  and  not  a  little 
patience.  You  may  procure  the 
requisite  material,  felt  and  leather, 
from  either  Messrs.  Hughes,  Drury 
Lane,  or  from  Messrs.  Godard, 
Tottenham  Court  Road.  A  set  of  taper 
felt  will  cost  from  Is.  9d.  to  3s.  6d. 
per  set,  and  leather  for  your  purpose 
is  sold  in  small  bundles  ;  a  shoemaker's 
knife  will  also  be  indispensable  ;  and  tbe 
above  firms  also  supply  springs,  which 
are  useful  in  the  hammer  covering 
business  ;  but  these  latter  can  be  done 
without.  Detach  the  levers  first  by 
inserting  your  knife  in  the  glue  joint 
which  attaches  them  to  their  rail, 
then  draw  the  screws  that  pass  through 


thehinge  pieces,  to  set  free  the  hammers. 
Now  unscrew  the  button  from  top  of 
wire  damper  lift,  in  order  to  effect 
entire  release,  and  be  careful  to 
preserve  the  sequence  of  all  parts  as 
you  remove  them.  Tbe  recovering  oi 
hammers  will  next  occupy  you,  and  as 
you  strip  off  each  old  covering,  make  as 
little  disturbance  of  the  underlaid 
cloth  as  possible,  and  notice  for  your 
future  guidance  that  no  glue  was  used 
at  the  nose  of  the  hammer.  Tbe  felt 
tapers  from  end  to  end,  hence  its  name, 
and  a  set  is  long  enough  to  supply 
coverings  for  the  hammers  of  a  full- 
compassed  instrument ;  therefore  take 
this  felt,  and  lay  it  upon  a  board,  and 
divide  it  by  cross  cuts  with  your  knife 
into  the  requisite  number  of  strips,  each 
of  which  will  be  a  trifle  wider  than  the 
hammer  which  it  is  to  cover.  These 
strips  are  in  their  turn  pared  oft 
thin  at  either  end  ;  but  how  much  so, 
reference  to  the  old  felt  must  decide. 
Your  felt  being  ready,  begin  by  taking 
a  strip  from  the  thickest  end,  and  the 
extreme  bass  hammer,  glue  the  strip 
for  about  j  inch  at  either  end,  and  clap 
it  on  the  denuded  hammer;  and  if 
you  have  no  springs,  bind  it  firmly 
with  tape,  at  same  time  pulling 
compactly  over,  as  that  is  an  important 
point  in  order  to  ensure  a  blow  with 
no  indecision  or  deadness  about  it. 
When  you  are  assured  that  the  glue  is 
dry,  trim  each  hammer  with  your  knife, 
and  as  your  knife  loses  its  keen  edge, 
whet  it  constantly  upon  emery  cloth. 
Sticker  hinges  are  slips  of  leather  cut 
to  proper  width,  folded  in  half,  and 
hammered  lightly  to  a  crease ;  tbe  old 
leather  having  already  been  picked  out, 
the  slot  is  filled  again  by  the  new 
leather  glued  into  it.  The  renewing 
of  lever  leather  is  conducted  upon 
much  tbe  same  lines  as  I  have  described 
for  hammer  covering ;  but  I  think  I 
need  not  recapitulate  that,  for  if  you 
are  fairly  successful  in  that  part,  the 
rest  will  have  become  very  easy  to  you. 
Just  one  other  thing  you  must  be 
careful  about:  do  not  use  your  glue 
too  thin. 

Castings. 
"Otto  Orno." — "I  have  had  some 
excellent  castings  in  brass  and  iron, 
and  at  a  very  reasonable  rate,  from 
Mr.  T.  Taylor,  Chester  Street,  Hulme, 
Manchester;  also  steel  tools  and  taps. 
— E." 


AMATEURS  IN  COUNCIL. 


363 


Pentagraph. 
"As  Amateur  Wood  Engraver." — 
A  simple  form  of  the  pentagraph,  and 
one  that  would  be  useful  for  your 
purpose,  is  represented  in  the  accom- 
panying illustration.  You  will  see 
that  it  is  constructed  of  four  strips  of 
wood,  three  long  and  one  short,  joined 
together  to  move  easily  at  their  joints, 
and  forming  a  square  framing,  each 
side  of  which  is  the  length  of  the  short 
piece.     The  pin  of  the  joint  A  is  fixed 


on  the  drawing  board  or  table,  and  the 
copy  is  put  under  either  of  the  points 
B  or  c,  according  as  it  is  to  be  reduced 
or  enlarged.  The  method  of  operating  is 
as  follows : — If  the  copy  is  traced  by 
the  point  c,  then  b,  bearing  the  pencil 
point,  describes  a  reduced  reproduction, 
and  reversal  of  that  arrangement 
produces  enlargement.  Additional 
method  of  adjustment  is  also  effected 
by  rows  of  holes.  A  similar  article 
to  the  one  I  have  here  described  is  to  be 
bought  at  any  novelty  shop  in  London. 
Ton  had  better  send  to  Mr.  Passmore, 
124,  Chcapside,  E.C.,  Is.  and  postage, 
and  no  doubt  he  will  supply  you. 
How,  personally,  I  do  not  recommend 
the  employment  of  an  instrument  of 
this  kind;  that  is,  if  you  desire  to 
attain  freedom  in  the  use  of  the  pencil. 
I  would  rather  urge  that  by  close 
application  you  school  your  band  to 
efficiency  in  drawing,  and  discard  all 
mechanical  aid  as  pernicious,  saving 
and  except  those  which  for  describing 
circles  and  for  arriving  at  set  curves 
are  admissible.  By  that  means  your 
essays  in  engraving  will  partake  rather 
of  the  boldness  of  professional  work 
than  of  the  faltering  effort  of  a  tyro. 

Amateur  Work,  Illustrated,  Old  Series. 
"  A.  P."  (Quebec).— The  Old  Series  of 
this  magazine  was  published  at  sixpence 
for  each  monthly  part.  With  regard 
to  the  recipe  you  mention,  it  was  copied 
from  a  contemporary,  and  we  gave  it 
for  the  benefit  of  our  readers,  judging 
they  might  find  out  minor  details  for 
themselves. 


Amateur  Work,  Vol.  II.,  New  Series. 
H.  J.  W.  (Chicago). — Your  query 
appears  to  have  miscarried  in  some 
unaccountable  way,  but  I  hasten  to 
repair  the  omission.  The  last  com- 
peted volume  of  this  magazine  was 
entitled  simply  Amateur  Work,  Illus- 
trated, Vol.  II.  (New  Series).  I  am 
glad  that  you  approve  of  the  Prize 
Scheme,  and  also  thank  Mr.  Morton,  of 
Maine,  for  the  terms  in  which  he 
expressed  his  opinion  to  you  on  the 
same  matter. 

Amateur  Dramatic  Authorship. 
R.  Brandon.  —  Playwriting  is  a 
subject  that  but  few  amateur  mechanics 
would  care  to  tackle ;  and  were  it  other- 
wise, the  columns  of  Amateur  Work, 
Illustrated,  will  be  occupied  for  some 
time  to  come  with  matter  more 
calculated  to  produce  satisfactory 
result.  However,  I  am  far  from 
wishing  to  deter  you — if  you  are 
inclined  to  authorship — from  following 
your  bent,  and  in  pledge  thereof  offer 
you  the  following  advice  : — Study  well 
the  works  of  the  great  dramatists, 
especially  Shakespeare,  the  genteel 
comedies  of  modern  authors  also,  and 
perhaps  you  will  acquire  the  ability  to 
write  dialogue  ;  then  if  you  possess  the 
power  to  invent  plot  and  incident,  you 
may  evolve  original  work.  There  is 
a  Latin  proverb  that  runs,  Poeta 
nascitur  non  fit ;  but  I  do  not  believe  it. 
Persevering  application  and  persistent 
effort  can  accomplish  wonders  ;  there- 
fore try,  but  do  not  feel  disappointment 
at  failure. 

Wax  Polish. 
"  C.  E.  L." — Have  you  followed  in 
every  particular  the  instructions  given 
for  the  manufacture  of  the  wax  polish  ? 
I  think  that  you  will  be  able  to  discover 
what  is  wanting  after  one  or  two  trials. 
All  recipes  require  a  certain  knack  in 
compounding,  and  subsequently  jn 
using,  that  is  only  to  be  acquired  by 
experience. 

Theatrical  Costume  Making. 
R.  B.  (Liverpool). — I  do  not  remember 
ever  having  promised  articles  on  this 
subject ;  but  I  will  do  my  best  to  write 
a  few  short  chapters  on  making  a  few 
simple  home-made  articles,  which  is 
all  I  claim  to  know  about  the  subject. 
The  people  who  supply  all  the  materials 
are  B.  Burnett  and  Co.,  Theatrical 
Drapers,  King  Street,  Covent  Garden, 
London,  W.C. — Henry  L.  Benwell. 


Zoetrope  Pictures. 
Mr.  James  Wright  writes:  —  "I 
succeeded  in  obtaining  some  pictures 
from  Germany,  through  Mr.  P.  S.  H. 
Wilson,  of  Sing  Bill,  Sheffield,  toy 
merchant." 

Reply:  Book-case  and  Screen. 
M.  E.  M.  (Ileywood).-A  couple  of 
side  boards  §  inch  or  1  inch  thick, 
screwed  to  top  board,  1}  inch  or  1J 
inch,  as  in  Pig.  1.  Bottom  board, 
2  inches  or  more,  screwed  to  sides  from 
underneath.  Front  edges  of  sides 
faced  up  with  pilasters,  screwed  as  in 
plans,  Pigs.  2,  3,  and  4  (either  one  or 
the  other).  Backboard  or  backboards 
let  into  rebates  on  all  boards  of  carcase. 
Shelves,  either  movable  upon  racks  or 
rackets  within  the  job  at  the  sides,  or 
fixed  by  tongues  joined  into  grooves. 
This  is  the  book-case,  which  may 
conveniently  be  4  feet  high  by  3  feet 
wide.  It  is  described  minus  a  plinth, 
as  being  more  convenient  for  the  purpose 
you  require  to  put  it  to.  For  the  screen 
there  will  be  two  uprights,  each  1J 
inches  wide  by  f  inch  thick,  into  which 
will  be  tenoned  three  rails,  each  1  inch 
wide  by  f  inch  thick.  Between  two 
top  rails  a  few  spindles  will  be  dowelled. 
Pediment  glued  and  Bcrewed  on  ;  also 
four  bracket  feet.  A  mitred  framing 
of  rails.  2  inches  or  3  inches  width,  and 


FIC.  I. 


FIC  .  2. 


FIC  3. 


J  inch  thickness,  or  less,  within  the 
opening,  will  afford  ground  for  attaching 
canvas,  etc.  You  caD,  as  an  alternative, 
work  wide  uprights  and  cross  rails 
down  to  obtain  same  result  as  with 
separate  mitred  framing.  Top  knobs 
are  separate  from  uprights.  If  ignorant 
of    any    terms    used    here,     purchase 


364 


AMATEURS  IN  COUNCIL. 


Messrs.  Ward!,  Lock  &  Co.'s  Technical 
Dictionary,  which  has  been  well  adver- 
tised. Size  of  screen  is  purely  optional, 
and  should  b'e  regulated  according  to 
use  it  is  to  be  put  to — fire,  draught,  or 
purely  ornamental.  However,  3  feet 
high  by  2  feet  wide  will  be  suitable. 
—J.  S. 

A  Tinsmith's  Blocking  or  Hollowing 
Hammers. 
H.  J.  W.;  (Chicago,  III.,  U.S.A.) 
also  writes :— — "  Rummaging  over  some 
old  pajjers  and  drawings,  bearing  date 
of  1886  and  1887,  I  came  across  a 
sketch  from  which  I  made  my  tinsmith's 
hammers  when  in  England.     The  price 


Fluor  Spar. 

"F.  B.  M."     {St.    Leonards).— You 

may   probably   get   this  from   Mr.  H. 

Buxton,  Royal  Museum,  Matlock  Bath, 

Derbyshire,  as  he  is  a  worker  of  it. — E. 

Upholstering. 

"  Scots  Fie." — Papers  on  upholster- 
ing, dealing  exhaustively  with  the  sub- 
ject, were  given  in  the  Old  Series  of 
Amateur  Work,  Illustrated,  extending 
from  parts  64  to  84  inclusive. 

Brass  Fittings  for  Boat. 

"Dingey"  wishes  to  know  where  he 
could  obtain  the  brass  fittings  for  a 
13-feet  boat.  Does  any  maker  keep 
them  in  stock  ? 


of  similar  hammers,  if  bought  from  a 
manufacturer,  amounts  to  about  5s. 
each,  which  was,  and  is,  higher  than  I 
care  to  pay  for  a  tool  I  can  make 
myself,  and  which  is  doubtless  the  case 
of  many  amateurs.  I  borrowed  two 
tinsmith's  hammers,  and  made  the 
enclosed  one-fourth  full  size  drawings 
of  them.  Next  I  made  wooden  patterns 
enlarged  from  draft,  and  had  castings 
made,  filing  same  up  myself.  My  two 
hammers  are  as  good  as  I  can  buy,  the 
cost  being  about  half  the  price  of  a 
single  hammer.  I  submit  this  with 
the  hope  that  it  may  prove  acceptable 
to  others  who  may  be  in  a  similar 
position." 


An  Easily  Made  Camera. 

"J.J.J.  Wells." — Your  query  re- 
specting above  has  been  forwarded  to  the 
author  of  the  article,  and  he  no  doubt 
will  reply  to  it  at  an  early  opportunity  ; 
but  you  must  be  patient,  and  remember 
for  your  consolation  that  "  all  things 
come  to  him  that  waits."  See  Mr. 
Morton's  letter  in  this  month's  "Ama- 
teurs in  Council." 

F.  S.  Morton  writes: — "I  am  this 
day  in  receipt  of  the  March  No.  of 
AiiATEUR  Work,  and  wish  to  call  your 
attention  to  a  few  errors  which  your 
engraver  made  in  the'  cuts  illustrating 
"  An  Easily  Made  Camera."  In  Fig.  3 
he  leaves  out  the   hole   in   the    front 


covering  which  you  will  see  in  Fig.  4. 
In  the  latter  Fig.  thereleasing  trigger 
should  be  carried  up  through,  as  will 
be  seen  in  Fig.  3.  In  Fig.  1  the 
vacant  space  in  the  bottom  of  the  pill- 
box, which  serves  as  a  diaphragm,  is 
closed  up,  and  the  line  carried  clear 
ncross.  These  errors  are  such  as  will 
correct  themselves  ;  but  I  thought  I 
would  call  your  attention  to  them,  in 
case  any  attention  was  called  to  them 
by  others.  I  try  to  make  my  drawings 
and  photographs  plain  ;  but  I  suppose 
I  do  not  always." 

Self-Actlng  Fountain. 
"  Fountain."  —  A  description  of  a 
self-acting  fountain  appeared  in  the 
"Amateurs  in  Council"  columns  of 
Part  8  of  the  old  series  of  Amateub 
Work,  Illustrated. 

Errata. 
In  "  Organ  Building,"  May  part,  the 
following  corrections  must  be  noticed  : 
Page  269.     The  lengths  of  Wald  Flute   . 
should  read — 

Tenor  C  ...  21     in. 

Middle  0  ...  lOJin.- 

C2        ...  4J  in. 

C3        ...  2    in. 

Page  270.  Piccolo  Scale  should  read — 
C  C,  ljJ,  inches  wide,  1|  inches  deep, 
22£  inches  long.  Width  of  Tenor  C  is 
|   by   JJ.     Width    of    Tenor   C2    is    J 

INFORMATION  SOUGHT. 

Can  you  or  any  of  your  readers 
recommend  a  good  safety  razor;  one 
that  will  shave  preferred  ?  (Most 
so-called  safety  razors  are  devoid  of 
this  attribute.)  State  price  and  where 
sold .  — Whiskers. 

Can  any  amateur  give  me  instructions 
for  making  a  smoke-house  for  smoking 
hams  and  bacon,  or  recommend  a 
book  which  will  help  me  ?  Any  hints 
as  to  process  will  be  gladly  received. — 
Retep. 

"  Retep"  wishes  to  know  how  football 
cases  (new)  may  be  preserved  till  next 
season.  Are  they  to  be  "dubbed"  or 
left  dry  ;  kept  in  dry  or  damp  place  ? 

LETTERS  RECEIVED  UP  TO  MAY  13. 

Secumty  ;  T.  Wilks  ;  O.  Becker- 
legoe;  H.  M.  B. ;  L.  Gubbins;  Rev. 
W.  Wad&;._Dabb-ler-;  F.  W.  Bedford  ; 
Allen  Carswell. 


PRESENTED    WITH 


*  h 


*F-      I       *i   --L    3l'-l    J,r      1   **!*'/     i     J?    i    ol      l     a*       l     3f      ±3i,     X,.,; 


TEUE    WORK,    ILLUSTRATED,"    PART    TnTXTT         JTJLT,    1891. 

MU&  BY  l|f  §R©PvM  iBItlE 
■OUNDBOARD. 


DESIGNS  FOR  HANGING   SHELVES  AND    CORNER   BRACKET. 


365 


DESIGNS  FOR  HANGING  SHELVES 
AND  CORNER  BRACKET. 

By  DAVID  HAINS. 


HESE  are  two  pieces  of  furniture  which 
I  have  made  ;  and  as  my  artistic 
friends  are  much  pleased  with  them, 
I  think  that  they  may  find  favour  with  some  of 
your  readers.  Beginning  with  the  shelves,  their 
construction  is  very  simple.  (So  much  has  heen 
already  written  on  construction,  that  I  will  not 


or  of  cardboard  covered  with  Japanese  paper  or 
lincrusta,  which  you  can  paint  with  the  rest. 
You  must  leave  just  room  enough  for  it  at  the 
bottom,  between  the  fillet  and  the  back.  Now 
slip  the  bottom  or  lower  edge  of  wood  or  card- 
board in  ;  then  bend  over  to  the  curved  fillet, 
and  put  a  few  sprigs  in  at  back,  and  it  will  be 
quite  firm,  with  the  bottom  edge  hidden  by  the 
top  of  the  moulding  The  spindles  must,  of 
course,  be  turned.  The  brackets  and  shelves 
must  be  screwed  to  the  back,  and  after  that  you 
can  cut  the  perforated  design  at  top  and  in 
back,  either  with  the  centre-bit  or  fret-saw.  The 


FIC-3. 

FIG.   I. — PERSPECTIVE   VIEW    OF   HASGING    SHELVES.       FIG.  2. — SIDE    ELEVATION    OF    HANGING   SHELVES.      FIG. 
ENLARGED.      FIG.  4. — TERMINAL    ENLARGED.       FIG.   5.— CORNER    BRACKET.      FIG.   6.— METHOD    OF    JOINING. 
BENT    FRONT    WITH   TERMINAL.      FIG.  8.— BACK   TERMINAL.       FIG.  g. — PLAN   OF   CORNER    BRACKET. 


go  into  the  matter  fully).  Join  up  the  boards 
for  the  back,  of  ^  inch  stuff  with  the  grain, 
of  course,  running  from  top  to  bottom,  and 
when  dry,  plane  on  one  side,  and  carefully  cut 
to  shape ;  taking  the  whole  outline  from  full- 
sized  working  drawing.  Cut  out  a  cardboard 
templet  for  curves ;  one  half  will  do,  as  you 
can  always  reverse  for  each  side  ;  then  cut  the 
brackets  and  sides.  Fasten  a  narrow  fillet, 
which,  if  cut  nearly  through  with  fine  saw-cuts, 
will  easily  take  the  desired  curve  (or  you  may 
steam  and  bend  the  wood  to  the  required  curve) 
for  the  canopy,  and  the  canopy  can  be  made 
either  of  thin  wood  with  the  grain  running  across, 

Vol.  III.  (New  Series).— Part  32. 


moulding  you  can  buy.  You  will  notice  that  a 
piece  of  moulding  is  put  under  the  bottom  shelf. 
When  complete,  paint  or  enamel ;  if  the  latter, 
which  is  less  trouble,  procure  a  tin  of  "  ivory 
white  "  enamel. 

Part  of  the  mouldings — the  lincrusta,  fillet, 
edge  of  shelves  or  brackets,  and  spindles  and 
pendants — can  be  gilt,  and  gilt  card  or  very 
thin  wood  at  back  of  perforated  design.  If 
any  gilding  is  required,  let  it  be  done  when  the 
article  is  otherwise  finished.  Simply  apply  oil 
gold  size  evenly  to  the  parts  required  to  be  gilt, 
and  when  "  tacky  "  apply  the  leaf  with  a  tip,  or 
direct  from  the  book  ;  but  unless  you  can  lay  the 
VOL.  III.  (N.s.) — G   G 


366 


ELECTRIC  LIGHTING   FOR  AMATEURS. 


leaf   well,  let  it  alone,    and    have    the   whole 
thing  white. 

In  lieu  of  mouldings,  I  have  often  used 
"cable-laid"  cord;  it  can  be  procured  at  any 
rope  and  sail  makers,  and  of  any  thickness  that 
may  be  required.  It  can  be  run  round  panels 
or  under  ledges,  using  one,  two,  or  three  sizes 
to  build  up  a  moulding.  For  use,  immerse  in, 
or  brush  it  over  with,  weak  glue  or  size  ;  hang 
up  with  a  weight  attached  ;  when  dry,  it  is  in 
good  condition  for  use.  Glue  the  angle  in  -which 
you  intend  to  fix  it,  and  keep  the  cord  in  posi- 
tion with  wire  nails  until  dry.  You  imist  mitre 
the  corners,  matching  the  strands.  This  does 
especially  well  for  two  colours  in  enamelling,  or 
the  cording  can  be  gilt.  In  curved  work  (to  be 
painted),  it  is  very  useful.  Its  price  is  from  a 
penny  a  yard  upwards.  You  can  cut  the  larger 
size  in  half  (after  glueing  and  stretching),  and 
use  it  to  decorate  flat  surfaces.  It  looks  a  deal 
better  than  the  "  compo  "  used  for  the  purpose. 
To  make  the  corner  bracket,  description  is 
hardly  necessary.  There  is  no  turned  work. 
True  up  a  piece  of  stuff  cut  from  an  inch  pi  Jink ; 
you  will  want  about  1 8  inches.  Mark  with  a 
square  and  with  a  very  sharp  chisel  and  mallet, 
making  the  cuts  clean,  and  keeping  the  bevel 
of  chisel  upwards  to  an  angle  of  45".  Do  the 
pointed  ends  List,  and  be  careful  not  to  break  or 
spoil  them  ;  get  all  at  the  same  angle.  The 
curved  piece  can  be  cut  from  a  piece  of 
wooden  hoop  nearly  the  curve.  The  brackets 
are  mortised  into  the  square  pieces.  The  back 
piece  seems  to  require  to  be  l  heavier  than 
the  other  three.  The  front  centre  piece  put  on 
last,  cutting  it  to  fit  curve. 

The  above  idea  can  be  carried  out  with 
three  brackets  and  a  half-round  or  rectangular 
shelf  for  an  ordinary  flat  wall.  Give  the  bracket 
one  coat  of  enamel,  thinned  with  turps,  well 
run  into  every  crack  or  joint ;  and  when  dry,  stop 
with  enamel  and  dry  whiting  worked  up  to  the 
consistence  of  putty.  For  finishing,  give  three 
more  coats  of  the  undiluted  enamel,  leaving  a 
day  between  each  application.  I  have,  in  a 
former  paper,  given  directions  for  washing 
brushes  when  done  with.  (See  article  on  "An 
Easy  Method  of  Producing  Stained  -  glass 
Windows.") 


ELECTRIC   LIGHTING  FOR 
AMATEURS. 

By  GREGORIE  EDOUIN  BEY. 


II. — Small  Dynamos  for  Electric  Lighting— The 
Siemens  Dynamo— The  Manchester  Dynamo- 
Dimensions   and    Prices   of   Dynamo   Castings. 

NEED  scarcely  explain  here  what  a 
dynamo  electric  machine  is,  for  nearly 
all  the  readers  of  Amateur  "Work 
must  have  seen,  at  some  exhibition,  one  or  more 
of  these  machines  converting  motive  energy  into 
electric  energy.  It  may,  howeve"r,  interest  some 
to  know  how  it  is  accomplished  ;  so  I  will  briefly 
describe  one  or  two  of  the  simpler  forms  of 
machines,  and  show  how  they  work. 

Siemens  Dynamo.  - —  This  dynamo  electric 
machine  receives  its  name  from  the  shape  of 
its  armature,  which  was  invented  by  the  late 
Dr.  Siemens,  and  is  named  after  the  inventor, 
the  "Siemens  H  girder  armature."  The 
machine  itself,  as  made  for  the  use  of  amateurs, 
has  no  other  claim  on  the  well-known  firm  of 
electrical  engineers  whose  name  it  bears,  and  I 
suspect  they  would  not  deign  to  notice  the  many 
toy  dynamos  bearing  the  name  of  "  Siemens." 
Its  parts  and  their  construction  may  be  easily 
understood  by  referring  to  the  sectional  sketch 
of  the  machine  shown  in  Fig.  1.  The  two  up- 
right pieces,  b  b,  represent  the  sections  of  two 
malleable  iron  castings  which  form  the  cores  of 
the  field  magnets.  It  will  be  seen  that  the 
lower  parts  of  these  castings  are  more  massive 
than  the  upper  parts,  and  are  hollowed  out  to 
form  a  kind  of  tunnel  open  at  the  bottom  and 
top.  These  parts  form  the  poles  of  the  field 
magnets,  and  the  tunnel  is  the  field  in  which 
the  armature  of  the  machine  revolves.  The 
armature  is  here  shown  (at  a)  in  section,  the 
dots  on  each  side  representing  the  coils  of  wire 
wound  in  the  channel  of  the  armature.  The 
channel  of  the  armature  is  closely  wound  with 
one  continuous  coil  of  insulated  copper  wire  in 
regular  layers,  the  bared  ends  of  the  wire  being 
brought  to  one  end,  and  connected  to  a  paTt  of 
the  machine  named  the  "  commutator."  The 
' '  commutator  "  is  a  disc  or  pulley,  made  out  of 
boxwood,  and  fitted  with  a  brass  ferrule  slit  into 
two  equal  parts  by  two  oblique  saw  cuts.     The 


ELECTRIC  LIGHTING   FOR   AMATEURS. 


367 


bared  ends  of  the  coil  are  fastened  to  these 
two  half-rings  of  brass  by  set  screws,  or  by 
soldering  the  ends  to  the  brass  ;  the  field  magnet 
cores  are  also  wound  with  two  coils  of  wire  con- 
nected together  in  the  middle,  and  the  two  free 
ends  brought  out  to  binding  screws  fixed  in  the 
base  of  the  machine.  The  two  cores  are  then 
connected  together  by  a  heavy  iron  yoke  at  the 
top,  and  bolted  firmly  to  the  wooden  base  of  the 
machine  by  the  projecting  lugs  at  the  bottom. 
The  bearings  for  the  armature  spindle  (made  in 
the  form  of  brass  brackets)  are  then  fixed  to  the 
fields  (spanning  the  entrance  to  the  tunnel  on 
each  side),  and  a  pair  of  insulating  blocks  are 
fixed  to  one  of  the  bearings  to  receive  the 
"  brushes."  These  brushes  are  merely  strips  of 
thin  copper,  or  thin  brass,  so  arranged  as  to 
press  lightly  on  the  half  rings  of  the  com- 
mutator as  this  revolves. 

Let  us  now  note  the  action  of  the  machine. 
We  first  send  a  strong  current  of  electricity 
through  its  field  magnet  coils  from  a  bichromate 
or  a  Bunsen  battery.  This  current,  traversing 
the  coils  of  wire,  induces  in  the  enclosed  iron  of 
the  cores  a  small  trace  of  permanent  magnetism, 
which  is  also  shared  by  the  pole  pieces  of  the 
cores.  As  these  form  a  hollow,  nearly  sur- 
rounding the  armature,  this  part  of  the  machine 
is  enclosed  in  a  magnetic  field,  the  lines  of 
magnetic  force  radiating  to  the  centre.  We  now 
revolve  the  armature,  and  this  movement  dis- 
turbs the  bines  of  magnetic  force  in  the  field,  and 
this  disturbance  induces  a  current  of  electricity 
in  the  armature  coil.  As  the  two  ends  of  this 
coil  are  connected  to  the  half  rings  of  the  com- 
mutator, and  these  half  rings  are  placed  in  contact 
with  the  brushes  of  the  machine,  we  shall  obtain 
evidence  of  the  electric  current  at  the  studs 
holding  those  brushes.  The  current  thus 
obtained  will  be  very  feeble,  since  it  is  only 
induced  by  the  weak  trace  of  magnetism  in  the 
field  magnet  cores. 

To  strengthen  the  current,  we  resort  to  either 
of  the  following  methods.  We  detach  one  end 
of  the  field  magnet  coil,  and  connect  it  to  one  of 
the  studs  holding  one  of  the  brushes,  whilst  we 
also  convey  a  wire  from  the  opposite  brush  to 
the  binding  screw  from  which  we  took  the  end 
of  the  field  magnet  coil.     The  machine  is  now 


said  to  be  connected  in  series.  If  now  we  con- 
nect the  two  binding  screws  by  a  length  of  fine 
wire,  and  then  revolve  the  armature,  its  current 
will  traverse  the  coils  of  the  field  magnets,  and 
induce  in  their  cores  a  stronger  magnetism. 
This  in  turn  will  react  on  the  armature,  and  thus 
strengthen  the  current  in  its  coils.  The  fine 
wire  between  the  poles  may  be  displaced  by 
some  electrical  instrument,  or  by  an  electric 
lamp,  and  thus  the  current  may  be  made  to  do 
useful  work.  When  connected  in  this  way,  we 
shall  find  that  the  current  obtainable  from  the 
machine  will  be,  to  a  certain  extent,  regulated 
by  the  resistance  of  the  work  placed  between 
its  poles ;  that  is  to  say,  if  we  have  work  with 
a  high  resistance  between  the  poles,  we  shall 
only  have  a  small  current  of  electricity  from  the 
machine,  because  only  a  small  volume  of  current 
can  pass  to  the  field  magnet  coils,  through  the 
high  resistance  of  the  work.  On  the  other  hand, 
a  low  resistance  will  allow  a  large  volume  of 
current  to  pass,  and  there  will  be  a  consequent 
increased  strength  in  the  magnetism  of  the  fields. 
This  method  of  strengthening  the  fields  is  not 
suited  to  the  work  of  lighting  incandescent 
electric  lights. 

The  other  method  of  strengthening  the  fields 
is  as  follows  : — The  ends  of  the  field  magnet  coils 
are  connected,  as  at  first,  to  the  terminal  binding 
screws  of  the  machine,  and  the  ends  of  the 
armature  coil  to  the  commutator  rings,  as  before. 
We  now  connect  each  brush  to  each  terminal  of 
the  machine  by  means  of  a  fine  wire,  and  thus 
place  the  armature  coil  in  circuit  with  the  coil 
of  the  field  magnets.  As  by  doing  this,  we 
shunt  the  armature  current  through  the  field 
magnet  coils,  we  call  this  method  "  connecting 
the  machine  in  shunt."  The  machine  will  now 
(within  certain  limits)  always  generate  a  uni- 
form minimum  current  independent  of  the  work 
being  done  by  it  in  the  outer  circuit,  and  will 
also  furnish  a  full  volume  of  current  to  the 
work  connected  with  it,  whilst  the  resistance 
of  that  work  is  less  than  that  of  the  shunt  wire 
and  coils. 

In  small  machines  of  this  type,  the  armature 
is  made  of  solid  malleable  iron  well  annealed, 
but  in  the  larger  machines  the  armature  is  built 
of  thin  plates  or   punchings  of  iron  threaded 


368 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


on  a  steel  spindle.  It  will  be  understood  that 
all  dynamo  machines  are  constructed  to  give  out 
a  certain  quantity  of  electric  current  -when  run 
at  a  certain  speed,  and  therefore  can  only  be 
used  to  light  up  the  number  of  lamps  for  which 
they  are  designed.  Taking  the  list  of  a  well- 
known  maker  of  these  small  dynamo  machines, 
I  find  the  following  dimensions  given  to 
furnish  a  definite  quantity  of  current : — Field 
magnets,  4  by  1  \  by  §  inches ;  solid  armature, 
If  inches  long  by  \  inch  diameter.  The  fields 
are  wound  with  12  ounces  of  No.  24  silk-covered 
copper  wire ;  and  this  coil  is  con- 
nected in  shunt  with  the  armature, 
which  is  wound  with  \\  ounces  of 
No.  24  silk-covered  copper  wire.  This 
machine  must  be  driven  at  a  speed  of 
3,000  revolutions  per  minute,  and  will 
then  develop  a  current  of  2  amperes, 
at  a  pressure  of  15  volts,  or  enough 
to  light  up  one  5  c.  p.  lamp:  To  light 
up  the  10  lamps  of  10  c.  p.,  previously 
mentioned,  we  should  re- 
quire a  machine  of  the 
following  dimensions :  — 
Field  magnets  10  inches  by 
6  inches  by  1  inch,  lami- 
nated armature  6  inches  by 
\\  inches,  the  field  magnet 
cores  wound  with  14  lbs. 
of  No.  22  double  cotton- 
covered  copper  wire  con- 
nected in  shunt,  and  the 
armature  wound  with  5  lbs. 
of  No.  16  double  cotton 
covered  copper  wire.  This 
machine,  when  driven  at  a  speed  of  1,800  revo- 
lutions per  minute,  will  develop  a  current  of 
from  6  to  8  amperes  at  a  pressure  of  75  volts. 
The  price  of  the  rough  castings  for  the  first 
machine  will  be  about  5s.,  and  those  for  the 
large  one  will  be  about  35s.  The  laminated 
iron  punchings  for  the  latter  machine  may  be 
purchased  at  the  rate  of  10s.  per  gross.  Machines 
of  this  type  are  fully  described  in  a  handy  little 
volume  on  "The  Dynamo:  How  Made  and 
Used,"  by  Mr.  S.  E.  Bottone,  Carshalton,  Surrey, 
who  also  supplies  amateurs  with  every  requisite 
for  making  dynamo  electric  machines  of  all  kinds. 


F1G.I 


P  I  G .  Si 

FIG.  I.— SECTION  OF  SIEMENS  DYNAMO.  FIG.  2. — 
SECTION  OF  MANCHESTER  DYNAMO.  A  A,  ARMA- 
TURES ;    B  B,  B  B,  FIELD  MAGNET  CORES. 


The  Manchester  Dynamo. — This  machine  takes 
its  name  from  the  form  of  its  field  magnets, 
which  were  first  brought  out  by  a  firm  of 
electrical  engineers  doing  business  near  Man- 
chester. The  general  form  of  these  is  shown  in 
section  at  Fig.  2.  This  dynamo  is  a  handy  and 
useful  machine  to  amateurs.  It  is  easily  con- 
structed, and  can  be  readily  repaired  when  out 
of  order,  because  all  its  working  parts  are  easily 
accessible  and  are  made  in  the  most  simple 
style.  Its  fields  lend  themselves  to  the  adoption 
of  armatures  constructed  on  the  Siemens  H, 
the  Pacinotti,  or  the  Gramme  pattern. 
The  Pacinotti,  or  cogged  ring  pattern 
of  armature,  has  now  almost  super- 
seded the  ordinary  Gramme  ring,  and 
is  used  instead  of  the  latter  in  making- 
up  machines  of  the  Gramme  type  with 
the  Gramme  field  magnets.  As  the 
Gramme  machine  presents  a  few 
difficulties  in  construction  to  the  • 
amateur  machinist,  I  will  not  attempt 
to  describe  it  here,  nor 
should  I  advise  a  novice 
in  dynamos  attempting  its 
construction  unless  he  has 
had  some  experience  with 
the  simpler  types,  such  as 
the  Siemens  or  the  Man- 
chester machines.  Those 
who  may  wish  to  attempt 
making  it  will  find  full  in- 
structions in  a  well-written 
little  volume  on  the 
Gramme  machine,  by  Mr. 
Alfred  Crofts,  Dover,  Kent, 
who  also  supplies  castings  and  other  requisites 
for  the  machine. 

The  Paccinotti  ring  armature  is  built  up  of  a 
number  of  laminated  cogged  rings  strung  on 
brass  rods  connected  to  brass  spiders.  The 
armature  is  wound  with  a  number  of  coils 
corresponding  with  the  number  of  cogs  on  the 
rings.  This  needs  special  care,  and  is  a  more 
difficult  operation  than  that  of  winding  a 
Siemens  armature.  The  method  of  winding 
this  class  of  armature  is  fully  described  and 
illustrated  in  Mr.  Croft's  book.  It  will  be 
readily    understood    that     this    armature   will 


PRACTICAL    ORGAN  BUILDING. 


369 


require  a  special  form  of  commutator  having  a 
separate  section  for  each  coil  of  wire. 

A  Manchester  machine  to  furnish  enough 
current  for  lighting  up  ten  lamps  of  10-e.p. 
should  be  of  the  following  dimensions: — Field 
magnet  cores,  2\  inches  by  &\  inches  ;  laminated 
armature  4|  inches  by  2£  inches ;  the  fields 
wound  with  10  lbs.  No.  22  double  cotton-covered 
copper  wire,  and  the  armature  with  4  lbs,  of 
No.  20  wire.  This  machine,  when  run  at  a 
speed  of  2,000  revolutions  per  minute,  will 
develop  a  current  of  5  amperes  at  a  pressure  of 
50  volts.  As  a  guide  to  intending  makers,  I 
may  say  that  the  castings  for  such  a  machine 
will  cost  about  30s.,  and  the  wire  for  the 
machine  an  equal  sum. 

In  winding  the  field  magnet  cores  of  the 
Siemens  dynamo,  we  have  to  so  arrange  the  coils 
as  to  form  a  north  pole  of  one  pole  piece  on  one 
side  of  the  armature,  and  a  south  pole  piece  on 
the  other  side.  This  is  ensured  by  winding  the 
two  coils  in  opposite  directions,  and  then  con- 
necting them  together ;  but,  in  winding  the 
cores  of  the  Manchester  dynamo,  the  coils  must 
be  so  wound  as  to  form  a  north  pole  at  the  top, 
and  a  south  pole  at  the  bottom  of  the  arch  ;  this 
is  ensured  by  winding  both  of  the  coils  in  the 
same  direction.  It  must  be  understood,  however, 
that  the  relative  positions  of  the  poles  do  not 
depend  entirely  on  the  direction  of  winding, 
but  are  governed  by  the  direction  of  the  current 
passing  through  the  coils.  Thus,  if  we  have  a 
machine  of  the  Siemens  pattern,  with  a  north 
pole  to  the  left,  and  a  south  pole  to  the  right, 
whilst  sending  a  current  through  the  coils  in  one 
direction,  by  reversing  the  direction  of  the 
current  we  shall  also  reverse  the  position  of  the 
poles.  The  relative  position  of  the  poles  is 
ensured  at  first  by  the  direction  of  the  current 
giving  the  initial  charge  of  magnetism  to  the 
cores  ;  but  this  may  be  altered  at  any  time  if  a 
strong  current  is  sent  in  the  opposite  direction 
whilst  the  machine  is  at  rest,  as  when  trying  to 
work  it  as  a  motor,  or  leaving  it  connected  to  a 
plating  solution. 

In  my  next  paper  I  hope  to  show  how  dynamos 
should  be  worked  whilst  employed  in  generating 
current  for  electric  lighting,  and  also  how  the 
lamps  should  be  arranged. 


PRACTICAL  ORGAN    BUILDING. 

By  AN  ORGAN  BUILDER. 

(For  Illustrations  see  Folding  Sheet  presented  with  this  Part.) 
VI.—  The  Soundboard. 


n 


E  have  the  pipes  made,  and  have 
finished  the  bellows  to  supply  them. 
The  next  thing  is  to  construct  a  means 
whereby  the  wind,  collected  by  the  latter,  may 
be  distributed  amongst  the  former.  The  sound- 
board constitutes  this  intermediate  means,  and 
contains  some  of  the  nicest  work  that  anyone 
could  wish  for.  It  is  the  most  important  item 
of  even  the  smallest  organ,  and  the  capabilities 
of  the  worker  will  be  put  to  the  crucial  test.  The 
greatest  pains  must  be  bestowed  on  it,  and  plenty 
of  patience  must  be  exercised.  The  material 
throughout  should  be  of  the  best  possible 
quality ;  all  pieces  of  wood  should  be  free  from 
curls  and  shakes,  while  a  piece  containing  a  knot 
should  be  laid  on  one  side.  The  reason  for  the 
exclusion  of  strong  wood  is,  the  various  details 
are  held  together  by  the  strength  of  the  glue 
alone ;  and  should  there  be  any  curls  in  the 
timber,  the  heat  of  the  place  where  the  organ  is 
erected  must  attack  these  places  first,  causing 
the  wood  to  cast,  and  the  joint  to  come  apart. 
The  consequence  of  this  is  no  less  than  disastrous, 
as  the  air  would  pass  through  the  chinks  into 
other  compartments  where  it  has  no  right  of 
way,  and  cause  a  most  fatal  thing  to  the  organ — 
a  running.  The  importance  of  these  remarks 
will  be  better  understood  as  the  work  pro- 
gresses. 

First  of  all,  make  what  is  generally  termed  a 
caul,  by  jointing  1 J  inch  boards,  5  feet  3 J  inches 
long  to  a  finished  width  of  2  feet  1|  inches. 
The  joints  need  not  be  glued,  but  they  must  be 
true.  On  one  side,  screw  four  stiff  l£  inch 
battens  to  hold  the  planks  together.  Plane  the 
other  side  out  of  winding,  and  straight  from  end 
to  end  and  across. 

Cut  out  a  piece  of  f-ineh  mahogany,  5  feet 
4  inches  long,  and  2  feet  2£  inches  wide,  for  the 
table.  Should  the  width  be  unobtainable,  joint 
two  pieces  of  unequal  width,  11  inches  and  15 
inches  ;  the  joint  will  then  come  in  a  place  of 
minor  importance.     Plane  one  side  moderately 


370 


PRACTICAL    ORGAN  BUILDING. 


true,  and  lay  it  on  the  caul  (the  two  planed  sur- 
faces together),  and  fasten  it  with  \\  inch 
wrought  brads.  Arrange  it  so  that  the  brads 
will  pass  through  the  table  at  the  points  y  on  the 
line  x,  squared  across,  and  the  same  on  the  line 
z  (Fig.  77)  ;  that  is,  the  points,  y,  will  be 
drawn  across  and  from  end  to  end  of  the  maho- 
gany, and  where  the  lines  cross  will  be  the  place 
of  one  of  the  forty-two  brads  to  hold  it  down. 
Punch  the  brads  well  in,  and  plane  the  surface 
strictly  true.  Rough  it  well,  but  evenly,  with 
a  toothing  plane,  and  set  it  out  in  lines  like 
Fig.  77,  with  a  marking  point.  It  must  be  re- 
membered that  the  table,  so  far,  is  upside  down  ; 
so  that  the  small  grooves  must  be  marked  to  the 
left,  not  the  right  hand,  as  in  Fig.  77.  The  way 
we  do  is  to  set  out  the  soundboard  on  a  rod, 
mark  the  centre  of  each  groove,  letter  them 
according  to  the  note  that  each  belongs  to,  and 
number  the  bars.  "When  marking  the  table, 
the  bars  only  are  squared  across ;  the  rod  is 
very  useful  and,  in  fact,  could  not  well  be 
done  without. 

Out  of  best  pine  cut  fiit3'-nine  pieces,  2  feet 
2J  inches  long,  to  finish  Z\  inches,  for  the  bars  ; 
plane  them  up  to  the  thicknesses,  as  seen  in  Fig. 
77,  and  square  one  end  of  each.  Various  thick- 
nesses of  plank  will  be  used,  and  if  necessary  two 
pieces  may  be  glued  together  to  form  the  thick 
bars.  Lay  each  piece  in  its  place,  across  the  maho- 
gany, and  shoot  the  edges  of  the  bars  so  that  a 
close  joint  is  formed  by  the  meeting  of  the  pine 
and  the  table.  The  edges  now  uppermost  should 
be  so  arranged  that  the  grain  all  planes  one  way, 
from  front  to  back.  Now  comes  a  most  parti- 
cular piece  of  work  :  laying  the  bars.  Have 
plenty  of  nice,  hot,  thin  glue  ready,  without  the 
least  particle  of  scum  on  it,  and  a  nice  warm 
shop  to  do  it  in.  At  li  inches  from  each  edge 
of  the  table,  knock  a  long  marking  point,  or 
piece  of  pointed  wire,  a  small  distance  into  the 
mahogany,  on  the  line  representing  the  inside 
of  the  left-hand  end  thick  bar.  Glue  the  table 
for  the  distance  to  be  covered  by  this  and  the 
space  between  it  and  the  next  bar.  Glue  the 
edge  of  the  bar,  make  a  good  rubbed  joint,  and 
fasten  it  with  three  handscrews  ;  carefully  draw 
the  points,  and  fix  them  on  the  line  representing 
the  left-hand  side  of  the   next   bar;  glue   the 


mahogany  and  bar,  as  before  ;  rub  it  down  well, 
and  leave  it.  No  handscrews  can  be  used  except 
for  the  two  outside  cheeks.  Serve  all  in  this 
manner,  and  leave  them  some  time  to  dry. 

When  the  glue  is  quite  hard  and  dry,  fill  in, 
with  pieces  of  £  inch  stuff  cut  off  a  long  strip 
3|  inches  wide,  each  end  of  the  channels  formed 
by  the  bars.  The  grain  of  filling-in  pieces  must 
run  the  same  way  as  the  mahogany,  must  fit 
tight,  be  well  glued,  and  knocked  in  flush  with 
the  ends  of  the  bars. 

Plane  up  two  pieces  of  \\  inches  stuff,  4J 
inches  wide,  5  feet  4  inches  long,  and  tooth  one 
side  of  each  for  the  two  long  cheeks  of  the 
soundboard,  b,  Figs.  77,  78,  and  79.  Carefully 
turn  the  bars  on  one  edge,  and  fix  it  in  the  bench- 
screw,  and  plane  down  the  filling-in  pieces  to 
come  level  with  the  ends  of  the  bars  and  be  quite 
square  from  the  edge.  Very  fine  irons  must  be 
used,  or  there  is  a  tendency  to  start  the  joints. 
Fit  one  cheek  over  the  ends  by  boring  a  hole  so 
that  a  4-J  inch  screw  may  pass  through  into  the 
seven  thick  bars.  Make  fourteen  pieces  4J 
inches  long,  2  inches  wide,  and  f  inch  thick,  with 
a  hole  bored  through  the  centre,  and  place  them 
under  the  head  of  each  screw,  so  that  when  the 
cheek  is  to  be  glued  on,  and  the  screws  driven 
home,  no  unsightly  bruises  are  made.  Take  the 
cheek  off,  tooth  the  ends  of  the  bars,  size  them 
well,  and  pass  a  hot  flat-iron  over,  to  make  the 
glue  sink  in.  Do  this  quickly,  or  a  joint  may 
give.  When  dry,  make  the  cheek  hot,  glue  it 
well,  and  the  surface  already  sized,  and  with  all 
possible  speed,  send  the  screws  in,  with  the 
washers  laying  across  the  cheek.  Serve  the 
other  side  in  the  same  way,  and  leave  it  over- 
night to  dry. 

The  parts  so  far  connected  must  now  be 
separated  from  the  caul,  by  driving  wedges  from 
one  end  till  the  brads  draw  themselves  through 
the  mahogany.  Knock  the  wedges  gently,  and 
they  come  apart  quite  easily.  Give  the  grooves 
a  good  coating  of  glue  on  the  bottom  and  ends ; 
this,  when  dry,  greatly  adds  to  the  strength  of 
the  joints.  Fit  in  pieces  of  |  inch  pine  between 
each  bar,  7  inches  long,  at  9  inches  from  the 
front,  as  shown  in  Fig.  78— a  representation  of 
six  grooves  of  the  soundboard. 

Draw  one  screw  out  at  a  time,  and  in  its- place 


PRACTICAL    ORGAN  BUILDING. 


371 


drive  a  hard  wood  pin,  4  inches  long  and  about 
§  inch  thick ;  bore  the  hole  through  the  cheek 
into  the  bar  plenty  deep  enough,  and  do  not  let 
the  pins  fit  too  tight,  as  they  are  to  be  glued  in, 
and  there  is  a  chance  of  splitting  the  bar. 

Turn  the  work  on  to  the  bench,  bars  down- 
wards, and  plane  the  mahogany  quite  true. 
Square  one  cheek  from  this  surface,  and  mark 
the  other,  so  that  when  it  is  planed  the  two  sides 
shall  be  quite  parallel.  Set  a  gauge  to  the 
narrowest  bar,  and  plane  them  all  down  to  the 
gauge  mark  on  each  long  piece.  Take  the 
cheek  down  a  trifle  out  of  square,  and  then  plane 
the  bars  from  front  to  back.  No  coarse  irons 
are  to  be  used,  and  on  no  account  chip  little 
bits  off  the  edges  of  the  bars ;  the  finishing 
shaving  must  be  left  for  the  present. 

The  wind  chest  must  now  be  formed.  Glue 
up  pieces  of  stuff  sufficient  to  finish  a  bar  c\ 
inches  wide,  2\  inches  thick,  and  5  feet  1|  inches 
long ;  this  is  fixed  dry,  across  the  bars  over  the 
long  filling-in  pieces.  Six  3-inch  screws,  with 
the  heads  sunk  in,  will  hold  it  in  its  place,  so 
that  ~s  inch  of  the  outside  bars  will  remain,  un- 
covered. A  piece  of  this  sort  forms  not  only 
the  back  of  the  wind  chest,  but  a  substantial 
backbone  for  the  grooves  above.  All  the  weight 
of  the  pipes  above  will  be  supported  by  this 
wind  bar  (d,  Figs.  78  and  79). 

For  the  ends,  two  pieces  of  li  inch  stuff  SJ 
inches  wide,  2  feet  5^  inches  long,  with  a  piece 
cut  out  of  the  inside  of  each  to  fit  on  the  ends  of 
the  wind  bar,  will  be  glued  and  screwed  to  the 
end  cheeks  of  the  soundboard,  so  that  the  out- 
sides  of  each  piece  are  flush  with  one  another,  as 
shown  by  the  dotted  fines  in  Fig.  81.  They  are 
only  put  on  dry  for  the  present,  and  each  end 
should  project  iV  inch  beyond  the  long  cheeks, 
both  front  and  back,  to  allow  for  cleaning  off. 
Cut  a  hole  in  the  cheek  that  is  fixed  on  the  end 
of  the  soundboard,  where  the  least  number  of 
large  grooves  are,  8  inches  long,  2  inches  wide, 
to  leave  §  inch  of  the  cheek  on  each  edge  at  2  J 
inches  from  the  front.  The  air  from  the  bellows 
will  enter  the  wind  chest  through  this  aperture. 

The  bottom  board  (e,  Figs.  78  and  79)  is  14 
inches  wide,  1  inch  stuff,  and  -5  feet  3£  inches 
long.  It  is  screwed  to  the  end  cheeks  and  along 
the  back,  with  1  inch  resting  on  the  wind  bar 


for  the  whole  length  of  the  soundboard.  The 
front  edge  must  come  square  with  the  front 
cheek  b,  Fig.  79.  Cut  a  piece  of  1  inch  maho- 
gany like  Fig.  80,  of  which  a  is  a  section,  and 
let  one  end  of  it  into  the  cheek,  and  the  other 
end  into  the  edge  of  the  bottom  board,  exactly 
in  the  middle.  The  length  from  shoulder  to 
shoulder  will  be  the  same  as  the  width  of  the 
wiud  bar.  The  mahogany  should  fit  tight,  as 
no  glue  is  to  be  used. 

The  wind  chest  cheeks  are  now  planed  down 
flush  at  the  front  ends,  and  two  pieces  of  inch 
stuff,  5  inches  wide,  are  screwed  to  the  cheek 
and  bottom  board,  so  that  one  end  will  rest  on 
the  piece  80,  and  the  other  will  project  a  trifle 
beyond  the  end  bar  of  the  soundboard.  "Where 
the  pieces  meet  over  the  mahogany,  they  should 
be  quite  square  to  make  a  good  joint.  In  this 
way  we  make  the  front  boards  r,  Fig.  78.  By 
making  the  front  board  in  two  parts,  the  necessity 
of  unscrewing  the  whole  length  is  dispensed 
with,  should  the  pallets  be  defective. 

Fix  the  whole  carefully  in  the  bench  screw, 
and  with  a  fine  iron  in  a  trying  plane,  clean  off 
all  projecting  pieces  flush  all  the  way  round. 
Mark  each  separate  item  so  as  to  make  sure  of 
its  going  on  again  in  the  same  position,  discon- 
nect the  wind  chest,  and  turn  the  remainder  on 
the  bench,  bars  downwards,  with  two  strips 
between  the  bars  and  the  bench,  to  prevent  the 
former  from  being  bruised. 

Out  of  f  inch  mahogany  cut  strips  repre- 
sented by  the  lines  drawn  along  the  soundboard 
in  Fig.  77,  for  the  sliders  and  bearers;  the 
latter  the  same  length  as  the  table,  and  the 
former  6  inches  longer.  Plane  one  side  of  each 
to  form  a  good  joint  with  the  table,  and  arrange 
them  in  such  a  manner  that  when  they  are  in 
position  the  grain  of  all  of  them  will  plane  the 
same  way.  Bedding  the  sliders  is  a  most  par- 
ticular piece  of  workmanship  ;  the  greatest  care 
being  required  to  make  them  lay  quite  close  to 
the  table.  When  the  strips  are  planed  parallel 
to  their  respective  widths,  and  gauged  to  a 
somewhat  uniform  thickness,  they  are  fastened 
to  the  table  with  wooden  pegs,  and  planed  over 
to  make  a  strictly  true  and  smooth  surface.  The 
pegs  must  only  be  placed  over  the  thick  bars. 
Those  that  hold  the  bearers  are  put  near  the  edge. 


372 


PRACTICAL    ORGAN  BUILDING. 


Plane  up  two  pieces  of  1  inch  mahogany  for 
the  upper  boards  (k,  Fig.  78),  and  two  of  f 
inch  pine  for  the  rack  boards  (l,  Fig.  78),  1  inch 
shorter  than  the  table,  1 1  inches  and  5  inches 
wide  respectively,  and  one  piece  of  each  wood 
1  inch  longer  than  the  table,  7£  inches  wide. 
Fix  the  pieces  together  in  pairs  with  wood  pegs, 
and  place  them,  thus  connected,  over  the  sliders 
and  bearers,  with  \  inch  less  than  the  table  at 
each  end  for  the  back  boards,  and  a  similar  dis- 
tance projecting  for  those  of  the  front.  Bore 
two  holes  on  the  outside  edge  of  each  pair  for  a 
piece  of  wire,  shaped  like  the  letter  L,  to  pass 
tightly  through  the  rack  board,  upper  board, 
bearer,  and  into  the  cheek.  The  steady  pins 
prevent  the  pieces  from  slipping,  and  determine 
the  exact  place  of  the  upper  boards  after  they 
have  been  taken  off.  These  boards  are  repre- 
sented by  the  thick  lines  in  Fig.  82. 

Now  square  over  the  grooves  on  the  rack 
boards,  mark  the  sliders  and  the  centre  of  the 
thick  bars.  "Where  the  centre  line  of  each 
bearer  crosses  the  bar  line,  bore  a  \  inch  centre- 
bit  hole  through  the  rack  boards ;  take  them 
off,  and  with  a  pin-bit  bore  a  hole  through  the 
upper  board,  bearer  and  table,  for  screws  to  hold 
them  down,  using  as  a  centre  the  mark  of  the 
centre-bit.  The  screws  must  only  bite  in  the 
bars,  and  be  moderately  loose  in  the  upper  board. 
Next  replace  the  rack  boards. 

Make  a  pattern  of  each  pipe  to  be  used,  and 
lay  them  down  over  the  sliders  belonging  to  the 
various  stops  ;  plant  them  in  such  a  manner 
that  as  many  as  possible  may  stand  directly 
over  the  groove  for  the  note  represented  by  the 
pattern.  Fig.  82  is  a  drawing  of  the  rack  boards 
with  the  patterns  laid  in  their  places.  It  will  be 
noticed  that  the  large  pipes  at  the  ends  of  the 
soundboard  are  not  over  the  channels  for  their 
notes ;  they  are  planted  so  that  they  will  stand, 
and  the  wind  is  taken  from  the  channel  to  the 
pipe,  through  a  groove  1  inch  wide  and  f  inches 
deep,  made  in  the  top  side  of  the  upper  board. 
Bore  the  middle  of  each  pattern,  and  with  a  brad- 
awl prick  the  centre  of  each  pipe  that  stands 
over  its  own  wind,  on  the  rack  board  ;  mark  the 
patterns  round,  and  letter  them.  Now  prepare 
pieces  of  §  inch  mahogany,  shaped  like  Fig.  83, 
a,  b,  c,  d,  e,  f  ;  the  two  former  are  pegged  to  the 


top  side  of  the  upper  boards  at  the  bass  end,  and 
the  others  at  the  treble  end,  and  the  two  last  on 
the  front  one ;  lay  the  rack  board  on  once  more, 
and  mark  the  centres  of  the  big  pipes  that  are 
to  be  grooved  off.  Take  off  the  rack  board 
and  the  §-  inch  veneers,  and  mark  on  the  upper 
boards  as  many  of  the  solid  black  lines  in  Fig. 
82  as  are  enclosed  by  the  veneer.  With  a  \ 
inch  centre-bit  bore  four  holes,  and  chop  out  the 
intervening  wood  for  each  wind  space,  right 
through  upper  board,  slider,  and  table  into  the 
channel.  The  bass  notes  of  the  gemshorn  will 
simply  be  |  inch  holes.  Pierce  through  the 
upper  board  into  the  slider  the  centres  of  the 
remaining  notes,  and  take  the  former  off  ;  bore 
holes  through  the  marks  on  the  sliders  and 
table  with  very  sharp  bits.  Those  for  the 
salcional  and  gemshorn  will  be  f  inch  diameter 
at  tenor  C,  and  A  inch  at  the  top  note,  and  the 
open  diapason  and  stopped  diapason  will  be 
|  inch  at  tenor  C,  and  \  inch  for  the  top  note. 
All  the  holes  must  be  cleaned  by  passing  a  red- 
hot  iron  through,  to  take  off  all  the  rags  left  by 
the  bits. 

The  next  operation  is  to  make  the  grooves 
for  the  low  notes.  Lay  the  veneers  on  in  their 
places,  and  prick  the  centres,  already  made,  on 
the  upper  boards.  The  long  holes,  lately 
alluded  to,  are  connected  on  the  top  side  by 
boring,  with  an  inch  centre-bit,  a  number  of 
holes  f  of  the  way  through  the  upper  board ; 
six  at  each  end  of  the  back  board  will  be  done 
in  this  manner,  as  one  bass  is  to  serve  for  two 
stops.  When  the  groove  is  cut  clean,  no  matter 
which  slider  is  drawn,  the  note  over  the  groove 
will  sound.  The  grooves  must  now  be  extended 
to  the  centre,  marked  through  the  veneer.  Bore 
holes  through  the  upper  boards  for  the  rest  of 
the  notes  ;  the  sizes  for  the  gemshorn  will  be  the 
same  as  the  salcional — §  inch  at  tenor  C,  and  \ 
inch  at  the  top  note.  The  sizes  for  the  stopped 
diapason  will  depend  on  the  diameter  of  the 
pipe  foot  at  \  inch  from  the  end.  All  wood 
pipe  feet  are  bevelled  at  the  end,  so  that  when 
they  are  pressed  down  they  wedge  themselves 
tight,  and  prevent  any  air  escaping  round  them. 
The  holes  in  the  veneers  will  be  bored  according 
to  the  sizes  of  the  feet.  The  open  diapason 
will  require  a  \  inch  hole  at   tenor  0   sharp, 


PRACTICAL    ORGAN  BUILDING. 


373 


■diminishing  in  size  to  A  inch  at  the  top  note. 
The  holes  for  all  the  metal  pipes  must  be  en- 
larged on  the  top  side  with  a  countersink ;  and 
it  would  be  well  if  a  round  burning  iron  were 
made  like  Fig.  85.  This  would  be  heated  red, 
and  the  point  of  it  put  into  every  hole,  leaving 
a.  nice  even  bevel  all  the  way  round. 

Carefully  count  the  boles  in  the  sliders,  to  see 
that  not  one  has  been  omitted  (there  should  be 
fifty-eight  to  each  slider) ;  and  having  made  sure 
of  that,  take  up  the  sliders  and  bearers,  and  try 
the  top  surface  of  the  table,  to  make  sure  that  it 
is  strictly  true  and  smooth.  The  heat  of  the 
burning  irons  often  tends  to  cast  the  wood. 

Now  make  a  groove  with  a  V  tool  between 
every  hole.  Should  there  be  any  wind  running 
about  under  the  sliders,  it  falls  into  this  channel, 
and  is  carried  off  the  soundboard ;  whereas  if 
the  groove  were  absent,  the  wind  would  run  to 
the  next  note,  or  anywhere  it  liked,  and  the 
effect,  whilst  playing,  would  be  far  from  agree- 
able. Fig.  86  represents  a  portion  of  the  table 
with  the  scoring  between  the  holes.  The  entire 
surface  will  be  covered  with  the  grooves  con- 
tinued in  a  similar  manner  to  those  in  Fig.  86. 
"With  a  rubber  and  a  piece  of  fine  glasspaper, 
smooth  over  the  surface,  and  rub  in  some  French 
-chalk.  Lay  the  sliders  in  their  places,  and  try 
them  to  see  if  they  have  cast ;  if  they  have, 
bed  them  afresh.  Bound  the  edges  of  the 
bearers  with  a  small  hollow,  and  peg  them  in 
their  places.  If  the  sliders  have  been  planed  a 
second  time,  the  whole  must  be  levelled,  as 
before  described.  A  few  §  inch  brads  will  be 
put  in  the  bearers  after  all  planing  has  been 
done.  Take  the  sliders  up,  shoot  the  edges,  and 
round  them  until  they  will  work  easily  between 
the  bearers.  A  long  slot  is  cut  in  each  end,  as 
seen  in  Fig.  77.  A  £  inch  round  wood  pin  will 
be  let  into  the  table  over  the  thick  cheeks,  and  a 
slot  cut  sufficiently  long  to  allow  the  sliders  to 
move  £  inch.  Be  careful  to  cut  the  holes  the 
right  way,  or  the  slot  may  come  over  a  wind 
hole,  which  would  not  be  altogether  desirable. 
Square  holes  (f  inch)  are  cut  in  one  end,  the 
ends  are  rounded,  and  when  well  dressed  with 
chalk,  they  are  practically  finished.  They  ought 
to  be  removed  from  their  places,  wrapped  up  in 
paper,  placed  between  two  pieces  of  wood,  and 


tied  round  to  keep  them  straight,  and  to  preserve 
them  from  the  air. 

The  top  is  left  for  the  present,  and  we  pro- 
ceed with  the  wind  chest.  Turn  the  bearers  on 
the  bench,  with  strips  between  to  prevent 
scratches,  and  take  the  last  fine  shavings  off  the 
bars.  Carefully  test  the  surface,  to  see  that  it 
is  true.  Smooth  the  bars  with  glasspaper,  and 
screw  down  the  wind  bar.  On  the  inside  of  the 
end  cheeks,  cut  a  slot  as  shown  in  Figs.  78,  79,  p  ; 
glue  them,  and  screw  them  down.  The  wind  bar 
will  have  a  strip  of  leather  1  \  inches  wide  ;  put 
the  whole  length  of  the  soundboard,  so  that  § 
inch  will  ba  glued  to  it,  and  the  remainder  on 
to  the  bars  and  filling-in.  A  piece  of  leather 
will  also  be  glued  the  whole  length  over  the 
filling-in  and  bars,  \\  inches  wide.  On  no 
account  must  the  front  edge  of  this  strip  come 
beyond  2f  inches  inside  the  wind  bar. 

Prepare  some  stuff  for  the  pallets ;  the 
straightest,  best,  and  driest  piece  of  inch  pine 
must  be  used  for  these.  If  the  heart  of  the 
board  is  curly,  cut  it  out  and  joint  up  the  two 
edges.  The  pallets  will  be  8  inches  long  and 
shaped  like  x,  Fig.  79.  Sufficient  pieces  should 
be  glued  together  edgeways,  to  measure  the 
distance  between  the  cheeks ;  any  number  of 
pieces  may  be  used  ;  they  are  only  jointed  so 
that  they  will  be  more  handy  to  work  up.  First 
of  all,  plane  one  side  of  a  piece,  say  10  inches 
wide,  square  one  end,  gauge  it  to  its  right 
length,  plane  it  to  f  inch  thick,  and  bevel  the 
end  up  the  back  from  2  inches  down  to  \  inch, 
which  is  rounded  off  to  nothing.  On  the  short 
side  of  the  piece,  mark  two  lines  across  with  a 
gauge,  one  \\  inches  and  the  other  2\  inches 
from  the  front  square  end.  Cover  the  bevel 
and  the  end  with  hot  size,  and  leave  the  piece  to 
dry.     The  stuff  will  not  be  used  for  some  time. 

With  a  sharp  chisel,  cut  the  front  filling-in  on 
the  slant,  as  seen  in  c,  Fig.  79.  Be  careful  that 
only  this  piece  is  cut;  the  cheek  must  not  be 
touched.  At  If  inch  from  the  end  of  the  bars, 
mark  with  a  pencil  a  line  from  end  to  end  of 
the  soundboard.  On  each  edge  of  the  bars  that 
are  thick  enough,  gauge  /5  inch  from  each  side 
with  a  tool  like  Fig.  87.  No  description  is 
needed,  beyond  that  it  is  made  of  hard  wood. 
A  piece  of  a  brad  will  make  the  marker ;  a  is  a 


374 


ME  TAL-TURNING. 


section.  This  gauge  is  always  fixed  to  the  *?B 
inch,  so  that  in  marking  the  bars,  just  prick 
(not  scratch)  the  distance  on  the  poncil  line. 
The  thin  bars  will  have  their  centres  marked. 
Cut  some  pieces  of  tinned  wire  2  inches  long, 
No.  18  gauge,  point  one  end,  bore  the  bar  with 
a  very  fine  bradawl  at  the  point  made,  and  knock 
one  piece  into  each  side  of  the  bar,  to  go  §  inch 
in.  These  pins  are  to  act  as  guides  for  the 
pallets,  and  are  shown  in  Fig.  79  (v). 

Now  cut  pieces  of  pallet  stuff,  plane  them 
down  so  as  to  be  parallel,  and  fit  loosely  between 
the  pallet  pins,  and  number  them.  The  centre 
of  each  pallet  must  be  gauged  on  the  short  side. 
This  may  be  done  by  altering  a  marking  gauge 
for  every  separate  pallet,  or  a  parallel  gauge 
may  be  made  like  Fig.  88.  It  is  easily  made, 
and  will  save  a  good  deal  of  trouble.  It  consists 
of  five  strips  of  mahogany  5  inches  long,  J  inch 
wide  by  f  inch  thick.  Three  pieces  are  fastened 
at  equal  distances  apart  at  each  end,  with  a 
round-headed  screw,  on  to  one  of  the  other 
pieces.  A  small  brad  is  knocked  in  exactly  in 
the  centre  of  the  middle  piece,  and  pointed.  To 
mark  the  centre,  hold  the  gauge  in  the  hand 
with  the  three  rails  downwards,  lay  the  piece  to 
be  marked  on  the  top  between  the  two  pieces 
on  the  tooth,  and  draw  the  pallet  down.  If  the 
gauge  is  properly  made,  the  mark  will  be  right 
in  the  middle  of  the  pallet.  Fig.  89  is  the 
gauge  set  ready  to  take  a  piece  1|  inches 
wide.  The  screws  are  left  a  trifle  loose,  so  that 
the  gauge  may  be  compressed  or  expanded 
as  desired. 


METAL-TURNING. 

By  A  FOREMAN  PATTERN-MAKER. 


IV. 


-Jaw  Chuck — Turning  Cylinder  Cover- 
Spring  Piston  Rings— Dog  Chuck. 


-Turning 


Ik.  J  OEK  whose  length,  or  thickness,  is  in- 
|JH  considerable  relatively  to  its  diameter, 
Jjjgl  is  usually  supported  and  turned  on 
face  chucks,  without  any  assistance  from  the 
poppet  centre. 

It  is  comparatively  easy  to  turn  a  stout  chunk 
of  metal  of  regular  figure  upon  any  kind  of  face 
chuck ;    but    the    difficulties    arise    when    the 


attempt  is  made  to  turn  thin  and  slender  work, 
and  work  of  awkward  shapes,  and  work  where 
little   allowance   for    removal  by   turning  has 
been   given,  and  where  very  considerable  ac- . 
curacy  is  required. 

There  are  so  many  kinds  of  face  chucks,  both 
English  and  American,  employed,  that  the  bare 
enumeration  of  them  and  their  uses  would  occupy 
several  articles.  I  must,  therefore,  assume  that 
they  are  tolerably  well  known,  and  their  uses 
understood,  and  confine  my  remarks  in  this,  and 
in  the  succeeding  article,  to  some  few  typical 
cases  of  face  chuck  turning. 

The  independent  jaw  chuck  is  by  far  the  most 
serviceable  one  for  general  use ;  it  is  more 
valuable  than  the  self-centreing  type,  or  the 
slotted  face-plate.  There  are  few  pieces  of 
work,  regular  or  irregular,  that  cannot  be 
grasped  quickly  and  firmly,  centrally  or  eccen- 
trically, in  its  jaws,  while  the  self-centreing  and 
the  face-plate  types  have  a  more  limited  use. 

Taking  a  cylinder  cover,  like  Fig.  10,  with 
a  stuffing-box  on  one  face — the  jaws  of  the  chuck 
would  be  first  set  approximately  central,  clipping 
the  edges,  a,  of  the  cover,  and  the  lathe  being 
ran  round  by  hand,  a  bit  of  chalk  held  against 
the  edge  of  the  cover  would  indicate  its  full 
eccentric  portion  ;  the  dogs  in  the  side  opposite 
thereto  would  then  be  slackened,  and  those  on 
the  full  side  tightened,  and  the  lathe  ran  round 
again.  Two  or  three  settings  like  this  should 
bring  the  cover  concentric.  Note,  also,  that  as 
the  edges  of  the  cover  have  to  be  turned,  one- 
half  the  thickness,  a,  must  be  turned  at  this 
first  chucking ;  therefore,  the  dogs  must  only 
embrace  barely  one-half  the  thickness,  a.  The 
half  that  is  clear  of  dogs  will  now  be  turned,  and 
also  the  outward  face,  b,  as  far  as  the  stuffing-box 
will  allow,  the  stuffing-box  will  be  drilled,  and 
the  work  be  removed  from  the  chuck.  If  the  jaws 
of  the  chuck  are  sufficiently  deep  to  permit  of  the 
turned  portion  of  the  edge  being  now  clipped, 
while  the  stuffing-box  still  clears  the  face  of  the 
chuck,  the  re-chucking  may  be  done  in  the  same 
way  as  the  first  chucking,  and  the  face,  c,  be 
turned ;  but  it  may  happen  that  the  jaws  do  not 
stand  out  far  enough  to  permit  of  this.  Many 
cases  of  this  kind  occur,  and  in  these,  as  well  as 
in   others,   the   turner,    both  professional   and 


METAL-TURNING. 


375 


amateur,  finds  chucking  pieces  of  wood  extremely 
serviceable.  Take,  then,  a  rough  piece  of  hard 
■wood,  and  clipping  it  in  the  dogs,  bore  a  shallow 
recess  to  receive  the  turned  edge  of  the  cover ; 
drive  the  latter  in,  with,  or  usually  without,  the 
assistance  of  a  little  cement,  and  the  turning 
will  be  accomplished  accurately,  and  with 
little  risk  of  the  work  being  thrown  out  of 
the  lathe. 


For  turning  the  spring  rings  of  engine 
cylinders,  I  have  for  many  years  cast  on  chuck- 
ing lugs  (a  a  a,  Fig.  11).  These  lugs  are  pinched 
upon  a  slotted  face-plate,  so  that  no  pressure 
whatever  is  put  upon  the  circumference  tending 
to  spring  the  ring  ;  and  instead  of  casting  each 
ring  as  a  separate  piece,  I  make  a  cylinder  10 
inches  or  12  inches  long  ;  this  is  turned  and 
bored,  and  from  it  is  then  cut  off,  with  a  parting 


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There  is  much  very  slight  work  that  could 
scarcely  be  turned  true  if  held  in  any  other  way 
than  by  wooden  chucks.  If  we  take,  for  ex- 
ample, the  spring  rings  for  the  pistons  of  model 
engines,  these  will  often  average  not  more  than 
rV  inch  in  thickness  ;  and  the  amount  of  pressure 
necessarily  put  upon  the  dogs  to  hold  the  rings 
securely  during  turning,  is  bound  to  distort  them 
from  a  truly  circular  form.  These  may  be  taken 
as  typical  of  much  slight  work  that  can  be  held 
better  in  wooden  chucks  than  by  any  other 
means.  The  pressure  of  the  bored  wood  is 
equal  all  round  the  ring,  instead  of  at  narrow 
sections  only,  as  with  the  dogs,  and  the  friction 
of  the  wood  holds  the  work  more  securely  than 
the  metal  dogs  can  do. 


FACE 


FIG.  IZ. 


tool,  from  six  to  twelve  separate  rings,  according 
to  size.  Amateurs  should  also  adopt  this  plan 
if  three  or  four  rings  only  are  wanted. 

There  are,  perhaps,  many  amateurs  who  cannot 
afford  the  expense  of  a  jaw  chuck,  and  for  these 
the  wooden  chucks  are  of  especial  value  ;  but  all 
work  cannot  be  thus  held,  and  in  the  absence  of 
a  jaw  chuck,  the  common  slotted  face-plate,  with 
its  appliances  of  bolts  and  dogs,  must  be  used. 
I  will  consider  these  in  the  next  article. 

There  is  nothing  so  difficult  in  the  construction 
of  a  dog  chuck  that  an  amateur  latheman  of 
average  skill  cannot  tackle.  As  these  cost  from 
£3  to  £6  each  for  lathes  of  from  3tV  inches  to 
5  inches  centres,  they  are  just  that  kind  of  job 
that  it  pays  the  amateur  to  make  for  himself ;  I 


376 


THREE   SMALL   ARTLCLES. 


give,  therefore,  clear  working  drawings  (Fig  12) 
of  a  chuck  6  inches  in  diameter.  As  the  draw- 
ings are  made  to  scale,  measurements  may  be 
taken  from  them  and  worked  upon  accordingly. 
I  need  not  describe  it  in  full,  but  will  simply 
refer  to  the  separate  parts  comprising  it. 

In  this  figure,  a  is  the'  flanged  plate  itself, 
cast  with  slots,  b,  which  are  filed  or  machined 
true.  The  plate  is  faced,  turned,  bored,  and 
screwed  to  fit  the  mandrel  nose,  c  are  the  dogs, 
of  forged  iron  or  steel,  fitted  with  sliding  blocks, 
d,  to  the  slots,  b,  and  tapped  to  receive  the  square 
threaded  steel  adjusting  screws,  e.  These  screws 
are  prevented  from  moving  endwise  by  the  pins 
f,  driven  alongside  the  grooves,  g,  near  the  ends 
of  the  screws.  The  dogs  are  tightened  with  the 
nuts,  h,  bearing  against  the  washers,  J.  The  dogs 
are  reversible  by  running  the  screws,  e,  out,  and 
turning  the  dogs  end  for  end  ;  they  will  thus 
bear  against  the  inside,  as  well  as  against  the 
outside,  of  work.  The  lines,  k,  are  scribed 
deeply  on  the  face  of  the  plate,  as  approximate 
guides  to  the  setting  of  the  jaws,  g. 

In  making  such  a  plate  as  this,  the  following 
brief  hints  will  be  of  service  :  —The  plate  itself, 
a,  is  of  cast-iron,  turned  on  face,  outside  edge, 
back  edge,  and  boss ;  the  jaws  are  forged,  o  and 

d,  and  the  screw  being  properly  in  one  piece,  d, 
is  filed  or  planed  to  fit  the  grooves  b,  and  the 
screw  turned.  The  dogs  (o)  are  turned  in 
position,  and  their  edges  made  parallel,  by  filing 
or  planing,  with  those  of  d.  Shallow  grooves 
are  cut  in  the  jaws,  to  assist  in  holding  work. 
The  jaws  are  case-hardened  before  use,  by 
making  them  red-hot  and  rubbing  them  over 
with  yellow  prussiate  of  potash  and  bone  dust, 
and  quenching  in  water.  The  nuts,  h,  should 
be  hardened,  and  also  the  head  of  the  screws, 

e.  The  screws,  e,  should  be  square-headed,  as 
shown.  It  does  not  matter  whether  they  are 
right  or  left-handed,  but  they  are  usually  left. 


Staining  in  Imitation  of  Eosewood. — Stain 
first  with  a  solution  of  logwood  made  by  dis- 
solving 1  ounce  extract  of  logwood  in  1  quart 
of  hot  water,  then  put  in  the  figure  with  black 
stain  of  a  solution  of  copperas  and  galls  mixed 
with  a  little  thin  polish. —  Carpenter  and  Builder. 


THREE    SMALL    ARTICLES. 

BEING    THE    SEVENTH    OF    A    SERIES 

DEALING    WITH     ARTICLES     OF 

HOUSEHOLD  UTILITY. 

By  ED.   C.  ROE,  Jun.,  Silver  Medallist  of  the  City  and 
Guilds  of  London  Institute. 


Soap  Box  or   Tray— Stand   for    a  Vase  or   Water 
Jug — Small   Plush   Bracket. 

ANY  are  the  winter  evenings  or  Satur- 
day afternoons  when  I  have  felt  in- 
clined for  nothing  so  much  as  a  short 
job  at  the  bench,  something  that  could  be  easily 
put  into  shape  and  that  would  eventually  prove 
of  use.  Have  any  of  my  fellow  workers  ever 
experienced  such  a  desire?  Surely  I  am  not 
alone,  and,  therefore,  may  be  right  in  thinking 
that  the  results  of  my  deliberations  as  to  the 
way  my  time  should  be  employed,  may  again 
serve  their  original  purpose,  and  afford  relief 
from  a  few  monotonous  hours. 

Could  I  be  present  with  my  readers,  it  is  very 
possible  that  I  should  hear  some  very  peculiar 
and,  perhaps,  not  at  all  flattering  remarks  as  to 
my  choice  of  subject,  or  rather  subjects  ;  but  let 
me  seek  refuge  in  the  excuse  that  the  uses  of 
my  three  articles,  as  named  above,  are  so  varied, 
that  one,  if  not  the  other,  may  meet  my 
critics'  views. 

Let  us  first  deal  with  the  soap-box,  as  I  have 
noted  it  down  first.  Now,  I  have  not  been  led 
to  treat  upon  this  subject  by  the  thoughts  which 
must  ever  be  before  an  intelligent  reader's 
mind  in  connection  with  soap,  by  reason  of  the 
assurances  of  the  indefatigable  vendor  of  that 
useful  article  who  would  have  us  believe  that 
soap  is  as  absolutely  essential  to  life  as  the 
ancient  sages  believed  the  mythical  philosopher's 
stone  to  be,  but  because  I  have  observed  many 
times  that,  owing  to  the  absence  or  incon- 
venience of  a  soap-box,  the  tablet  has  been 
deposited  carefully  by  the  maid-of-all-work 
upon  the  window  or  some  other  ledge,  to  the 
detriment  and  ultimate  destruction  of  the  paint 
thereon. 

The  requirements  of  the  article  are  not  such 
as  to  give  scope  for  anything  special  in  design 


THREE   SMALL   ARTLCLES. 


377 


378 


THREE   SMALL   ARTICLES. 


or  arrangement,  but  I  have  endeavoured  to 
improve  upon  the  average  twopenny  box  in  a 
way  that  will  be  clearly  seen  by  the  accompany- 
ing cuts.  The  rack,  formed  of  wire,  is  intended 
for  the  small  brush  or  flannel ;  the  latter,  more 
often  than  not,  to  be  found  hanging  round 
the  tap.  The  wire  for  the  purpose  does  not 
require  to  be  very  stout,  but  should  be  cut 
in  a  careful  manner,  that  all  the  pieces  may  be 
equal  in  length,  and  quite  straight.  The  holes 
to  take  the  ends  of  the  wire  must  not  be  bored 
through.  The  drawings  may  be  increased 
according  to  the  requirements  of  the  amateur ; 
therefore  it  will  not  be  necessary  for  me  to 
quote  the  dimensions,  further  than  the  thickness 
of  the  whole  of  the  stuff  need  not  exceed  \ 
inch.  The  arrangement  for  draining  the  water 
from  the  soap-container  may  need  a  little  ex- 
planation. The  idea  is  that  a  movable  tray 
be  made  of  stout  perforated  zinc,  fastened  to 
two  end  pieces,  as  indicated  by  dotted  lines  on 
Fig.  1,  in  each  of  which  two  slots  are  cut,  in 
order  that  the  tray  may  rest  on  four  brass 
screws  fixed  in  the  sides  of  box ;  these  are  also 
indicated  on  Fig.  1.  Two  slotted  holes  are 
provided  for  hanging  up,  and  easy  removal, 
like  the  one  shown  on  Fig.  2.  The  whole 
should  be  screwed  together  with  brass  flat- 
headed  screws,  and  the  wood  used  should  be, 
by  preference,  beech. 

The  second  article  may  be  utilised  for  a  variety 
of  purposes ;  for  instance,  as  a  stand  for  a  vase, 
or  as  the  original  is  used,  for  standing  a  water 
jug  on.  The  first  thought  to  make  this  stand 
was  induced  by  the  possession  of  an  old  Dutch 
tile  peculiar  in  character ;  this  was  made  to  serve 
as  the  basis  round  which  a  frame  was  placed. 
Of  course,  any  variety  of  tile  may  be  used,  but 
it  certainly  is  preferable  that  one  be  chosen  with 
a  smooth  surface,  and  not  of  the  variety  termed 
majolica,  which  have  a  surface  upon  which  the 
design  is  in  relief.  The  moulding  from  which  the 
frame  is  made  is  shown  in  section  at  a,  Fig.  3. 
The  only  really  difficult  portion  of  this  job  is 
the  working  of  the  mouldings ;  but  I  must  of 
necessity,  by  the  narrow  limits  afforded  by  this 
paper,  forego  the  pleasure  of  describing  the 
methods  by  which  the  best  results  are  obtain- 
able ;  but,  I  hope,  at  an  early  date,  to  produce  a 


paper  upon  the  subject  of  working  beads  and 
mouldings  of  an  elementary  character. 

The  best  way  to  securely  fix  the  frame  together 
after  mitreing  is  to  insert  a  cross  tongue,  as 
shown  by  Fig.  4  ;  it  will  be  noticed  that  it  does 
not  run  through.  As  to  the  way  in  which  the 
frame  may  be  drawn  together  when  under  glue, 
I  do  not  think  it  necessary  to  recapitulate  here 
instructions  which  have  been  given  so  repeatedly. 
The  frame  together,  the  tile  in  place,  and  the 
backing,  as  shown  at  Fig.  3,  neatly  secured 
with  a  couple  of  brass  screws  each  side,  counter- 
sunk in  properly  level,  and  all  the  slots  turned 
the  same  way,  we  may  consider  the  most  desir- 
able form  of  feet  or  supports.  If  a  turned  foot 
is  preferred,  Fig.  5  will  provide  lines  to  work 
on,  or  as  an  alternative  pattern  Fig.  6  ;  but 
should  something  a  little  novel  be  required,  with 
a  comparatively  small  amount  of  trouble,  I  would 
suggest  an  arrangement  as  shown  by  Fig.  7 
and  Fig.  3,  the  latter  being  the  section,  and  the 
former  plan.  The  foot  is  formed  by  two  pieces  of 
moulding  cut  to  a  true  mitre,  and  glued  together 
as  shown  by  Fig.  7,  whereby  it  will  be  seen  that 
the  foot  is  finished  by  the  sides  being  cut 
parallel  to  the  mitre.  These  feet  will  be  found 
to  look  very  well ;  and  to  those  persons  who  are 
unfortunately  unable  to  revel  in  the  glories  of  a 
lathe,  an  alternative  method  dispensing  with  that 
machine's  services  will,  doubtless,  be  doubly 
welcome.  Screws  should  be  used  to  fix  the  feet 
to  frame,  should  the  latter  method  be  adopted ; 
if  turned  feet  are  used,  of  course  pins  and  glue 
will  be  sufficient. 

I  have  abstained  from  mentioning  any  parti- 
cular variety  of  wood  for  use,  as,  indeed,  any- 
thing capable  of  being  worked  in  a  satisfactory 
manner  is  admissible  ;  in  fact,  the  odd  pieces 
generally  to  be  found  lying  about  should  be 
brought  into  use  for  such  small  matters. 

Of  course,  due  consideration  must  be  given  to 
the  relative  colours  of  the  wood  and  those  upon 
the  tile ;  the  same  may  be  said  should  a  wood 
panel  be  introduced  in  lieu  of  the  tile. 

The  third,  and  last,  item  is  a  small  bracket  to 
be  covered  with  plush,  and  intended  for  the 
support  of  any  little  statuette  or  other  nick-nack 
for  use,  with  which  it  may  be  adapted.  The 
originals,  the  memory  of  which  caused  me  to 


GOLD   LEAF  AND  PITH  BALL   ELECTROSCOPES. 


379 


include  a  line  or  two  about  them  in  this  paper, 
were  simply  made  of  a  portion  of  a  cigar-box 
and  a  few  screws;  and  really  such  material  is 
very  satisfactory  for  a  job  such  as  this.  The 
sketches  will  explain  nearly  all  that  is 
necessary ;  one  point,  however,  may  be  touched 
upon  with  advantage — it  is  concerning  the 
method  of  hanging  up.  Is  it  not  a  sorrowful 
fact  that  sometimes  we  see  an  otherwise  charm- 
ing bracket  or  similar  article  suspended  either 
by  means  of  a  too  apparent  brass-headed  nail, 
grinning  forth  over  the  top  of  the  shelf  about 
an  inch,  or  by  a  couple  of  beautifully  bright 
tin-tacks,  which,  to  say  the  least,  do  not  add  to 
the  general  effect  ?  Now,  with  a  little  care  and 
thought,  the  majority  of  such  ornamental  things 
may  be  made  so  as  to  afford  a  method  of  fixing 
which  shall  be  as  secure  as  it  is  invisible  to  the 
eye.  In  the  present  case  I  would  suggest  the 
screwing  on  at  the  back  of  back  piece  of  bracket 
a  small  plate,  as  rough  as  may  be.  Yes,  even  a 
piece  of  condensed-milk  tin,  or  the  late  covering 
of  a  poor  defunct  lobster,  will  do  capitally  for 
size  ;  Fig.  9  will  give  an  idea.  Before  screwing 
on,  however,  we  must  cut  a  slot,  as  shown  by 
Fig.  9,  at  right  angles  to  the  plate  ;  this  will 
allow  the  passage  of  a  small  hook,  which  is 
driven  into  the  wall  a  suitable  distance.  A 
good  hook  may  easily  be  made  by  merely  bend- 
ing a  wire  nail,  first  removing  the  head,  after 
the  style  shown  by  Fig.  10.  I  think  my  meaning 
is  clear. 

The  hole  in  the  back  of  bracket  will,  of 
course,  be  covered  by  the  plush,  to  mount  which 
I  can  really  offer  but  little  assistance,  further 
than  to  advise  care,  a  sharp  penknife,  a  gojd 
pair  of  scissors,  good,  clean,  fresh  glue,  made 
fairly  strong,  and,  above  all,  be  assiduous  in 
keeping  the  glue  from  the  face  of  the  plush, 
and  the  fingers  clean.  The  sketches  are  § 
full  size.  The  bracket  is  covered  completely 
with  plush.  By  the  way,  it  is  by  far  the  best 
method  to  cover  the  back  first,  and  then  th9 
shelf. 

And  thus  the  end  of  the  seventh  paper  is 
reached.  It  is,  truly,  a  chapter  of  oddments, 
which,  however,  I  hope  will  prove  as  enter- 
taining and  useful  as  though  the  chapter  dealt 
with  one  large  article. 


HOW  TO  MAKE 

GOLD  LEAF  AND  PITH  BALL 
ELECTROSCOPES. 

By  ELECTRON. 


jj^sasg  HE  electroscope  is  an  instrument  em- 
ployed for  the  detection  of  the  pre- 
sence of  electricity  in  any  body.  There 
are  various  forms  of  these  instruments ;  the 
gold  leaf  and  pith  ball  electroscopes  will  be 
described  in  the  following  article. 

For  the  gold  leaf  electroscope,  procure  a 
glass  jar  with  a  wide  opening  in  the  top ;  it 
should  be  3  inches  or  more  in  diameter,  and  6 
or  7  inches  in  height,  the  bottom  must  be  cut 
off,  which  can  be  done  by  filing  a  notch  round 
the  jar  with  a  triangular  file.  A  little  camphor 
and  methylated  spirit,  made  into  a  paste,  and 
laid  on  the  glass,  will  make  the  file  bite  better ; 
after  it  is  cut  off,  smooth  the  edges  a  little  on  a 
grindstone.  Then  prepare  a  base  of  dry  wood, 
as  shown  in  Fig.  2,  about  f  inch  thick,  turned  to 
fit  the  jar  ;  it  must  be  soaked  in  melted  paraffin 
wax,  and  when  dry  covered  with  tinfoil,  which 
can  be  glued  on ;  also  glue  two  strips  of  tinfoil, 
about  \  inch  wide,  on  each  side  of  the  inside  of 
the  jar,  allowing  about  \  inch  to  project  at  the 
lower  end;  then  glue  the  bottom  to  the  jar, 
glueing  the  ends  of  the  strips  of  tinfoil  outside, 
and  glue  a  strip  of  tinfoil  round  the  outside, 
which  will  fasten  the  bottom  more  firmly.  A 
cap  of  wood  must  be  turned  for  the  top  of 
the  jar,  as  shown  in  Fig.  3  ;  this  must  also  be 
soaked  in  melted  paraffin  wax  ;  a  hole  should 
be  bored  in  the  centre  for  a  ■h  inch  rod  of  brass, 
and  a  \  inch  hole  near  the  side,  which  is  fitted 
with  a  plug,  to  allow  any  damp  air  to  escape ; 
the  rod  should  have  a  brass  plate,  about  1  \  inches 
in  diameter,  screwed  on  the  top.  Drill  a  small 
hole  in  the  brass  rod,  about  2  inches  from  the  top, 
and  put  a  small  wire  pin  through,  to  prevent  the 
rod  dropping  down  into  the  jar ;  fix  to  the  lower 
end  of  rod  two  pieces  of  thin  brass,  \  inch  wide, 
by  a  small  screw.  The  ends  of  the  pieces  of  brass 
should  be  bent  so  as  to  fit  closely  together  when 
the  screw  is  tightened.  Then  get  two  strips  of 
gold  leaf  |  inch  wide,  and  the  length  of  the 
sheet ;  get  a  gilder  to  cut  them,   and  lay  each 


380 


GOLD  LEAF  AND  PITH  BALL  ELECTROSCOPES. 


strip  in  a  folded  piece  of  clean  paper.  Great 
care  must  be  used  not  to  allow  any  air  to  blow 
on  the  gold,  or  it  will  crumple  up.  Lay  one  piece 
of  paper  on  tbe  table,  and  with  a  needle  draw 
the  gold  leaf  gently  out  for  \  inch,  and  lay  one 
piece  of  the  thin  brass  under  this ;  then  lay  the 
other  piece  of  paper  down  upon  the  first,  and 
draw  out  the  gold  upon  the  first  piece ;  lay  the 
other  piece  of  brass  on,  and  screw  up  tight,  being 


stand  about  3  inches  in  diameter,  and  1  inch 
thick ;  in  the  centre  of  this  fix  a  brass  pin  i\  inch 
in  diameter,  and  upon  this  fix  a  glass  tube  3 
inches  long ;  into  the  top  of  the  glass  tube  a  piece 
of  brass,  with  a  small  collar  to  prevent  it  dropping 
down,  is  fixed,  a  thicker  piece  is  screwed  or 
soldered  on  the  top,  and  through  this  a  piece  of 
brass  rod,  ^  inch  in  diameter,  is  fixed  with  a  hook 
at  one  end,  and  a  small  brass  ball  at  the  other. 


FIC.I. 

Gold  leaf  Electroscope 


careful  to  have  the  folded  papers  in  line  with 
the  rod.  Now  lift  the  rod  gently,  and  allow  the 
paper  to  drop  off,  and  put  the  cap  on  the  jar, 
with  the  gold  leaves  opposite  the  strips  of  tin- 
foil. The  cap  may  be  fixed  by  glueing  a  strip 
of  silk  ribbon  round  it,  and  the  top  varnished 
with  sealing  wax  varnish.  When  all  is  dry,  if 
an  electrified  body  is  brought  near,  or  set  upon 
the  brass  plate,  the  gold  leaves  will  diverge. 
In  using  the  instrument  in  damp  weather,  the 
plug  should  be  taken  out,  and  the  jar  well 
warmed  at  the  fire. 

The  Pith  Ball  Electroscope. — This  instrument  is 
also  used  for  detecting  the  presence  of  electricity, 
and  is  shown  in  Fig.  4.     Make  a  round  wooden 


FIG.  A. 
Ptth  bad  Ele-ctroscope . 

The  rod  may  be  wedged  or  soldered  to  keep  it 
steady;  the  ball  is  screwed  on  the  end;  the 
various  parts  may  be  permanently  fixed  together 
by  putty,  but  for  convenience  of  packing  away 
are  better  not  fixed  fast.  The  pith  balls  are 
made  from  the  pith  of  the  elderberry  tree.  Cut 
a  piece  about  1  inch  or  more  in  diameter,  and 
when  throughly  dry,  split  the  outside  off ;  the 
balls  are  cut  as  nearly  circular  as  possible  with 
a  knife,  and  then  rubbed  up  with  glasspaper ; 
make  a  loop  in  strong  sewing  silk,  and  pass  the 
other  end  through  the  ball  with  a  needle,  and 
make  a  knot.  If  an  electrified  body  is  brought 
near  the  ball,  it  is  attracted  first,  and  then 
repelled,  or  vice  versa. 


REVOLVING  BOOK  CABINETS. 


381 


REVOLVING    BOOK   CABINETS, 

AND  HOW  TO  MAKE  THEM. 
By  CLEEICUS  SECUNWS. 


Skirting — Alternative  Revolving  Apparatus. 
gS  will  be  seen  by  the  section  shown  at  o 
(Fig.  4),  the  rims  and  centres  are 
raised  above  the  "  spokes,"  the 
former  being  |  inch  thick,  the  latter  J  inch.  Of 
course,  the  exact  thickness  is  immaterial,  the 
important  point  being  that  the  rims  and  centres 
revolve  in  contact ;  they  will,  therefore,  need  to 
be  ground  together,  and  will  work  all  the 
smoother  for  being  kept  lubricated.  There  must 
be  a  hole  through  the  centre  of  each,  to  take  a 
f-inch  bolt,  and  holes  countersunk,  for  screws  to 
fasten  them  to  the  stand  and  cabinet  respectively. 
Now  screw  the  plate,  b,  on  to  the  stand,  with  the 
raised  parts  uppermost,  of  course.  The  plate,  a, 
might  be  screwed  direct  on  to  the  bottom  of  the 
cabinet ;  but  it  will  be  found  more  convenient  to 
have  a  second  and  false  bottom  of  1  inch  wood, 
which  need  not  be  much  larger  than  the  re- 
volving plate  (say  1  foot  square),  and  screw 
the  plate  to  that.  The  advantage  is  that  the 
apparatus  can  be  tested  and  made  to  work 
smoothly  before  fixing  finally,  and  can  at  any 
time  be  removed  without  interfering  with  the 
cabinet.  The  false  bottom  is,  of  course,  screwed 
to  the  bottom  of  the  cabinet,  when  all  has  been 
made  to  work  smoothly. 

A  f-inch  bolt,  some  5|  inches  long,  forms  the 
pivot  upon  which  the  whole  turns.  Should  the 
bottom  of  the  cabinet  come  into  contact  with  the 
head  of  the  bolt,  and  prevent  the  false  bottom 
from  being  screwed  home,  a  1  inch  hole  can  be 
made  in  the  bottom  of  the  cabinet.  It  is  hardly 
necessary  to  point  out  that  the  plate  must  be 
exactly  central.  The  nut  is  screwed  up  beneath 
the  stand,  and  so  can  be  readily  got  at  at  any 
time.  A  washer  will  be  needed  under  the  head 
of  the  bolt,  and  above  the  nut,  to  prevent  them 
from  eating  their  way  into  the  wood.  Should, 
however,  the  under  plate  have  a  second  row  of 
screw-holes  (as  marked  with  dotted  lines  in  Fig. 
4,  b),  the  central  part  of  the  stand  may  be  com- 
pletely cut  away,  and  each  foot  be  screwed 
separately  to  the  revolving  plate.  Again,  the 
hole  in  the  false  bottom  may  be  cut  large  enough 


to  admit  the  head  of  the  bolt ;  which  bolt  may 
then,  of  course,  be  proportionately  shorter. 

This  point  being  settled,  the  upper  plate  is  to 
be  screwed  to  the  false  bottom,  the  nut  passed 
through  and  screwed  up,  and  then,  if  found  to 
work  smoothly,  the  false  bottom  is  to  be  screwed 
to  the  bottom  of  the  cabinet. 

Only  one  thing  remains  to  be  done,  namely, 
to  fix  a  narrow  "  skirting  board "  around  the 
bottom  of  the  cabinet.  Procure  8  feet  of  |-inch 
wood ;  the  width  had  better  be  ascertained  by 
actual  measurement,  the  object  being  to  conceal 
the  revolving  apparatus.  The  strip  should  be 
wide  enough  to  come  close  up  to  the  bottom  of 
the  bars,  and  just  clear  the  feet  of  the  stand. 
If  the  dimensions  given  have  been  closely  fol- 
lowed, 2f  inches  or  2|-  inches  will  be  found 
correct.  Chamfer  the  outer  top  edge,  cut  into  2 
feet  lengths,  mitre  carefully  at  the  corners,  and 
fasten  on  with  brads  and  glue.  The  cabinet  will 
now  be  complete,  and  as  shown  in  Fig.  8. 

But  suppose  the  amateur  cannot  readily  pro- 
cure the  revolving  plates,  or  that  for  some  reason 
he  would  prefer,  if  possible,  to  do  all  the  work 
himself — what  then?  Then  he  had  better  do 
what  (to  judge  from  some  queries  which 
occasionally  appear  in  Amateur  Work)  some 
amateurs  seem  to  think  altogether  superfluous, 
namely,  set  his  wits  to  work  to  find  some  way 
out  of  the  difficulty.  One  thing  is  certain  :  if 
the  amateur  cannot  or  will  not  exercise  his 
brains,  he  will  never  be  able  to  do  much  in  the 
mechanical  line ;  so  that,  unless  he  has  a  large 
stock  of  patient  perseverance,  and  some  amount 
of  ingenuity  in  presence  of  unexpected  diffi- 
culties, he  had  better  retire  from  the  scene  of 
action. 

After  which,  the  least  I  can  do  is  to  prove 
that  I  am  equal  to  following  the  advice  I  give 
to  my  readers,  by  offering  them  a  solution  of  the 
present  problem,  which,  in  the  absence  of  better, 
may  answer  their  purpose.  Procure  two  ends  of 
brass  tube,  about  4  inches  long,  the  stouter  the 
better ;  let  one  be  of,  say,  f  inch  external 
diameter,  and  the  other  of  a  size  to  slide  over 
the  first  fairly  stiffly  ;  also  two  flanges  to  carry 
the  tubes,  and  into  which  they  must  bo  screwed 
as  tightly  as  possible.  Make  a  hole  through  the 
centre  of  the  stand  exactly  the  size  of  the  larger 
vol.  in.  (n.s.) — II  H 


382 


REVOLVING  BOOK   CABINETS. 


tube,  which  we  will  call  the  socket  tube.  The 
upper  part  of  the  hole  may  have  to  be  slightly 
enlarged,  to  take  in  the  flange  socket,  whose 
diameter  is  necessarily  somewhat  more  than  that 
of  the  tube ;  in  that  case,  the  best  plan  will  be 
to  bore  this  larger  hole  first,  and  then  continue 
it  with  a  smaller  bit.  Personally,  I  find  it  always 
safer  to  try  the  bit  on 
a  piece  of  waste  wood 
when  I  wish  to  ensure 
accurate  fitting,  as  I 
frequently  find  the 
apparent  sizes  decep- 
tive. "Whether  this 
will  be  necessary  re- 
mains to  be  seen ;  at 
any  rate,  the  tube 
must  not  yet  be  fixed  ; 
it  must,  however,  be 
well  understood  that 
the  tube  passes  down- 
ward through  the 
stand,  the  socket  being 
therefore  necessarily 
reversed,  i.e.,  face 
downward. 

Next  make  a  bottom 
board  of  1  inch  wood, 
similar  to  that  sketch- 
ed (Fig.  6),  and  make 
a  hole  in  its  centre 
to  exactly  take  the 
smaller  tube.  On  that 
side  of  the  bottom 
board  which  will  be 
next  to  the  bottom  of 
the  cabinet,  describe  a 
circle  about  the  hole 
just  mentioned,  and 
the  size  of  the  flange 
carrying  the  tube ; 
then  take  out  enough 
of  the  wood  to  allow  the  flange  to  lie  buried 
in  the  false  bottom,  through  which,  as  in  the 
case  of  the  socket  tube,  the  tube  must  pass 
downward,  the  flange  lying  face  downward  in 
the  shallow  recess  just  made;  then  screw  it 
down,  and  we  have  (what  we  shall  henceforth 
call)  our  pivot-tube.     Get  a  piece  of  brass,  2 


F  IG 


—\ 


/U 


F  I  C      7. 

FIG.    ^. — WHEELS  TO   REPLACE   LOWER  REVOLVING  PLATES,  FULL 
SIZE,    FOUR    NEEDED.       FIG.    6. 

TOP    REVOLVING    PLATE  ;    SCALE,    I    IN.   TO  FOOT.      FIG.    7 
SECTION      OF      REVOLVING     APPARATUS  ;      A,      PIVOT     TUBE  ; 
B,     FLANGE    OF    DITTO  ;     C,    PLATE  ;    D,    FLANGE     OF    SOCKET 
TUBE  ;    E,    BLOCK  TO   RAISE   SOCKET  ;    F,    SOCKET  TUBE. 


inches  square  will  do,  but  the  thicker  the  better, 
and  in  any  way  practicable  make  a  hole  in  its 
centre  the  size  of  the  pivot-tube ;  pass  it  over 
the  said  tube,  and  screw  it  up  against  the  under 
side  of  the  bottom  board,  and,  of  course,  on  the 
side  opposite  to  the  flange.  This  we  may  call 
our  friction  plate.    It  will  add  to  the  strength  of 

the  pivot-tube  if  it  be 
filled  with  a  piece  of 
wood  turned  to  fit  it 
as  tightly  as  possible, 
and  long  enough  to 
pass  up  into  the 
flange ;  anyhow,  let 
this  part  be  as  strong 
as  possible. 

Next,  beg,  borrow, 
or  buy  (the  latter  is  a 
good  way  when  you 
happen  to  think  of  it) 
four  wheels  about  the 
size  of  castor  wheels, 
which  latter,  indeed, 
will  do  nicely ;  they 
may  be  of  metal  or 
any  sufficiently  hard 
substance,  and,  of 
course,  may  be  turned 
by  the  amateur  him- 
self. See  to  it  that 
the  pins  upon  which 
the  wheels  revolve  are 
sufficiently  stout,  as 
they  will  have  to  bear 
considerable  strain. 
S  Next  procure,  as  car- 
riers for  the  wheels, 
eight  strips  of  metal, 
bottom  board  to  replace   Bay  2i  inches  long  :  i 

E,    I   IN.   TO  FOOT.      FIG.    7. —     .  a  ?■    1 

inch  will  do  for  thick- 
ness, though  a  little 
more  would  not  be 
amiss;  their  width  must  be  a  trifle  less 
than  the  diameter  of  the  wheels,  and  the 
holes  to  take  the  pins  of  the  wheels  must 
be  drilled  just  above  the  central  line  of 
the  carriers.  This  will  ensure  the  wheels 
appearing  above  their  tops,  and  clearing  the 
bottom  when  they  come  to  be  fixed.     By  the 


_r 


j 


REVOLVING  BOOK  CABINETS. 


383 


way,  the  edge  of  the  wheels  must  be  rounded  off, 
to  reduce  the  friction  as  much  as  possible.  To 
keep  the  carriers  the  correct  distance  apart,  small 
blocks  of  wood,  a  little  thicker  than  the  wheels, 
must  be  inserted  at  each  end,  and  held  in  place 
by  nails  driven  through  oue  or  more  holes  drilled 
to  admit  them  (see  Fig.  5).  These  wheels,  with 
their  carriers,  must  now  be  embedded  in  the  feet 
of  the  stand,  as  shown  in  Fig.  3  (b).  It  is  impor- 
tant that  they  should  all  be  exactly  level,  fixed 
truly  at  right  angles  to  the  sides  of  the  feet,  and 
at  exactly  the  same 
distance  from  the 
centre  of  the  stand. 
The  holes  made  to 
take  them  in  must  be 
just  the  depth  of  the 
carriers,  so  that  the 
wheels  may  stand  out 
above  the  surface  of 
the  stand.  The  car- 
riers need  not  be 
fastened  in  any  way, 
provided  they  fit 
fairly  closely,  as  the 
weight  of  the  cabinet 
will  keep  them  in 
place. 

Attention  is  especi- 
ally called  to  the  fact 
that,  in  order  that 
the  cabinet  should 
revolve  smoothly,  it 
is  absolutely  essential 
that  it  rest  evenly  on 
all  the  four  wheels, 

and  also  that  the  "  friction  plate "  revolve 
in  contact  with  the  flange  of  the  socket 
tube.  The  reason  why  the  latter  was  not 
fixed  in  its  place  before  will  now  appear, 
as  will  also  the  advantage  of  a  separate 
bottom  board.  Place  the  latter  on  the  stand,  by 
passing  the  pivot  into  the  socket  tube ;  it  will 
be  found,  let  us  hope,  to  bear  equally  upon  the 
four  wheels  (at  any  rate  this  is  essential),  but 
owing  to  the  wheels  projecting  above  the 
stand,  it  is  likely  that  the  flange  of  the  socket 
tube  will  come  slightly  short  of  the  friction 
plate.     If  so,   push   the   socket  tube  up  from 


FIG.  8.- 


REVOLVING  BOOK  CABINET  COMPLETE. 
TO  THE  FOOT. 


beneath  until  they  are  in  close  contact  (i.e.,  the 
flange  and  the  friction  plate),  and  then  block  up 
the  flange  from  beneath  by  means  of  a  thin 
piece  of  wood  (or  better,  of  sheet  metal),  so  as 
keep  the  two  surfaces  in  constant  contact. 
(See  Fig.  7). 

Whatever  happens,  let  the  amateur  stick  to 
the  job  until  the  requisite  conditions  of  success 
are  fulfilled,  i.e.,  an  equal  bearing  on  the  four 
wheels,  and  close  frictional  contact  between  the 
flange  of  the  socket  tube  and  the  friction  plate. 

"When  this  is  done, 
the  cabinet  will  re- 
volve smoothly,  but 
not  till  then.  It  will 
help  to  preserve  this 
smoothness  of  work- 
ing if  the  circle 
described  on  the  bot- 
tom board  by  the 
wheels  be  protected 
in  some  way  from  too 
rapid  wear  ;  this  may 
be  contrived  by  fast- 
ening metal  strips  a 
couple  of  inches 
wide,  and  cut  in 
segments  to  describe 
the  requisite  circle. 
This  may  be  dis- 
pensed with,  but  in 
that  case  the  bottom 
board  will  get  worn 
by  the  wheels,  and, 
what  is  worse,  will 
probably  be  worn  un- 
equally, so  as,  perhaps,  to  require  renewal  at  no 
distant  date. 

There  is  another  plan  which  might  also  suc- 
ceed, and  Las  the  merit  of  being  somewhat 
simpler  ;  though  I  have  not  seen  it  in  operation, 
I  mention  it  for  the  benefit  of  any  who  might 
be  disposed  to  try  it.  Prepare  a  screw  platform 
as  large  as  convenient,  say  1  foot  10  inches 
across  ;  it  may  be  square,  or  round,  or  octagonal. 
Perhaps  the  latter  will  be  easier  than  the  cir- 
cular, and  look  better  than  the  square.  It  should 
be  made  of  1  inch  wood  ;  more,  rather  than  less. 
Screw  this  platform  solidly  down  to  the  stand. 


SCALE,    |    IN. 


384 


AMATEUR    CONJURING. 


Then  mount  the  cabinet  on  caBtors,  just  as 
though  it  was  to  stand  on  the  floor ;  let  the 
castors  he  as  far  as  possible  apart,  remembering 
that  they  must  revolve  within  the  limits  of  the 
platform  just  mentioned — let  us  say  1  foot  7 
inches  apart.  Of  course  they  must  be  equi- 
distant from  the  centre.  Fix  the  bottom  board 
as  before,  and  pass  the  pivot  into  the  socket 
tube.  Block  up  the  flange  of  the  socket  until  it 
is  in  contact  with  the  friction  plate,  and  the 
thing  is  done,  we  hope,  as  successfully,  if  not 
quite  so  scientifically,  as  with  the  two  revolving 
plates.  For  this  plan  to  succeed,  however,  the 
castors  must  be  of  (what  I  think  is  called)  the 
"  direct  bearing  "  type  ;  those  of  the  common 
swivel  pattern  may  not  be  used,  for  reasons 
that  cannot  be  explained  here.  As  the  distance 
between  the  stand  and  the  bottom  of  the  cabinet 
will  vary  according  to  the  plan  of  mounting 
selected,  the  length  of  the  pivot  and  socket  tubes 
(which  should  be  as  long  as  possible),  as  alsa 
the  width  of  the  "skirting  board,"  may  have 
to  be  varied  accordingly. 

In  another  paper,  as  already  mentioned,  some 
of  the  modifications  and  adaptations  of  which  the 
revolving  cabinet  is  capable,  will  be  described. 


AMATEUR    CONJURING: 

WHAT  TO  DO,  AND  HOW  TO  DO  IT. 

By  A.  BARLEY. 


VIII. — The  Mysterious  Drum. 
IN  this  paper  I  shall  endeavour  to  show 
ra  "  my  pupils  "  how  to  make  the  very 
K£S<^s8  mysterious  and  highly  amusing 
"magic  drum."  First  of  all,  let  me  describe 
the  trick  from  the  spectator's  point  of  view, 
which  is  as  follows  : — 

The  professor  enters  on  the  stage  (for  this 
trick  is  essentially  a  stage  trick),  carrying  in  his 
hands  a  drum.  He  then  walks  among  his 
audience,  showing  the  drum  while  he  relates 
some  extravagant  tale  concerning  it  ;  he  then 
returns  to  the  stage,  and,  getting  a  pair  of 
sticks,  gives  it  a  tap  or  two.  Suddenly  he 
ceases,  and  wonders  if  he  can  "  mesmerise  it"  ; 
so  he  places  it  upon  his  table,  and  endeavours 
to   do   so.      He    accounts    for   the    failure   by 


observing  that  "  all  the  mesmerism  escapes 
by  being  in  contact  with  the  wooden  table," 
and  that  what  it  wants  is  to  be  hung  by  a 
piece  of  string  so  that  it  touches  nothing. 
Then  he  picks  up  two  pieces  of  cord  with  hooks 
at  the  end,  and  hooking  one  to  each  side  of  the 
stage,  he  hooks  the  other  end  of  each  to  the 
drum  (see  Fig.  29),  so  that  it  is  suspended  in  the 
middle  of  the  stage.  After  a  few  "passes" 
he  touches  the  drum  lightly  with  his  wand,  and 
the  drum  gives  forth  the  "  Dutch  roll,"  etc.,  in 
grand  style.  Then  the  drum  can  also  be  made 
to  answer  questions;  two  taps  for  "yes,"  and 
one  for  "  no,"  etc.  A  great  deal  of  fun  can  be 
be  got  out  of  it  if  some  laughable  questions  are 
asked  by  the  professor.  So  much  for  the 
performance  of  the  trick.  Now  for  the  working 
of  it.  No  doubt  anyone  of  an  electrical  turn 
of  mind,  who  looks  at  the  drawing  (Fig.  28), 
will  see  at  a  glance  the  mode  of  working;  in 
"point  of  fact"  it  is  nothing  but  an  electric 
bell  without  the  gong,  and  with  larger  bobbins. 
The  drawing  is  f  full  size,  but  I  will  give  the 
measurements  of  a  few  of  the  principal  parts, 
so  that  there  can  be  no  mistake.  The  bobbins 
are  of  boxwood  2  inches  long,  and  the  bobbin 
heads  are  1  inch  in  diameter.  The  iron  cores 
marked  I,  in  Fig.  28,  are  §  inches,  shouldered 
down  to  J  inch  where  they  pass  through  the 
yoke,  g.  The  wire  on  bobbins  is  double  silk- 
covered  (22  B.W.G.)  wire.  I  always  put  a 
piece  of  tissue  paper  between  each  layer  of 
wire.  I  may  here  say,  that  if  any  reader  has 
any  difficulty  in  procuring  the  necessary  parts, 
I  shall  be  happy  to  assist  him  to  the  best  of  my 
ability.  The  Editor  has  my  address,  and  will 
forward  any  letters  to  me  if  a  stamp  is  enclosed 
to  cover  postage.  Fig.  30  is  a  sketch  of  the 
armature  spring;  o  is  a  platinum  speck  to 
correspond  with  the  platinum  tip  in  the  contact 
breaker.  The  drum  must  have  one  end  (or 
both  would  be  better  still)  loose,  so  that  you 
can  fix  the  works  in.  Now  get  two  pieces  of 
rather  thick  brass  wire,  and  drill  two  little 
holes  in  each  side  (see  Fig.  29).  After  the 
works  are  fixed  in  the  drum,  connect  a  piece  of 
wire  from  one  terminal  to  the  brass  loop  on  one 
side  ;  the  same  on  the  other.  The  other  ends  of 
the  cords  have  hooks  on,  similar  to  the  one  at 


AMATEUR    CONJURING. 


385 


the  "  drum  end."  Now  you  will  want  some 
batteries.  I  can  recommend  the  new  "  Gassner 
dry  battery."  I  say  latteries,  because  it  is 
according  to  the  way  in  which  the  mechanism  is 
made  ;  two  ought  to  do  very  well  indeed.  By 
looking  at  Fig.  32  you  will  see  how  to  connect 
the  wires.  I  have  put  a  bell-push  in  the 
drawing,    because    it    is     convenient    for    the 


FIG.  28.— COILS  READY  FOK  FIXING    IN  DKUMS  ;    A  A,  COILS  ; 

B,  ADJUSTING  SCREW  ;  C  C  C,  CONNECTION  ;  D,  ATTACH- 
MENT OF  SPRING  ;  E,  SPRING  ;  F,  LEVER  ;  G,  FRAME. 
FIG.  29. — DRUM  SUSPENDED  ;  B,  WIRE  TO  BATTERIES  \ 
P,  WIRE  TO  PUSH.  FIG.  30. — ARMATURE  SPRING  ;  A, 
ATTACHMENT  TO    FRAME  ;    B,    ATTACHMENT  TO  LEVER  ; 

C,  PLATINUM  POINT.  FIG.  31. — DRUM  AND  TABLE  ;  A  A, 
SUPPORTS.  FIG.  32. — PLAN  OF  CONNECTION  ;  B,  BAT- 
TERIES ;  p,  push  ;  w,  coils,     fig.  33. — pivot. 

assistant  behind  the  scenes  to  work.  I  think 
that  is  all  I  need  say.  There  is  another  method 
of  doing  the  trick,  like  Fig.  31.  Two  brass 
plates  are  let  into  the  table,  and  a  wire  connected 
with  each,  as  in  the  drawing.  Two  brass 
candlesticks  are  used  to  support  the  drum. 
A  pivot,  like  Fig.  33,  is  put  on  each  side  of  the 
drum,  instead  of  the  loop  in  Fig.  29,  and  is  let 
inside  the  drum,  and  connected  up  the  same. 

The  above   article  concludes  the  series  upon 
"  Amateur  Conjuring.' 


386 


A    CHAMELEON  TABLE. 


A  CHAMELEON   TABLE. 

By  JAS.   SCOTT. 


H||T  is  a  matter  of  truth  that  the  people  of 
this  age  are  becoming  strictly  utili- 
tarian in  both  principle  and  action. 
Instead  only  of  absolute  necessity  creating  a 
demand  for  certain  articles,  men  fathom  their 
mental  faculties  for  the  purpose  of  devising  or 
inventing  things,  the  utility  of  which  amounts, 
in  several  instances,  to  what  might  be  termed  a 
creation  of  new  requirements. 

My  meaning  must  be  exemplified  by  a  little 
further  explanation.  A  seat  of  some  sort  was 
the  outcome,  in  the  first  place,  of  absolute 
necessity,  and  is  therefore  a  necessary  article ; 
hut  a  seat  or  chair  with  a  shifting  back,  enabling 
the  user  to  obtain  what  he  considers  more  ease, 
hy  adjusting  the  back  to  various  angles,  is 
not  a  result  of  absolute  necessity,  although 
when  once  such  an  article  has  been  placed  on 
the  market,  it  can  he  said  that  afterwards  the 
demand  will,  in  all  probability,  be  for  chairs 
with  adjustable  hacks. 

Stuffed  couches  are  not  necessaries ;  hut 
where  is  the  man  or  woman  who  would  not  give 
the  preference  to  them  over  wooden  settees  ? 
Here,  then,  we  have  another  instance  of  this 
fact ;  for  although  necessity  certainly  created 
the  wooden  seat,  it  did  not  really  bring  forth 
the  stuffed  article. 

When  one  nowadays  observes  anything  new 
in  one  or  another  direction,  one  almost  in- 
stinctively exclaims,  "What's  the  use  of  it?" 
I  have  noticed  this  for  some  length  of  time,  and 
readers  of  some  technical  magazines,  in  addition 
to  members  of  the  furniture  trade,  have  seen 
that  I  have  endeavoured  to  give  them  new 
designs  which  claim — as  their  main  feature — 
utility.  Appearance  is  generally  considered  by 
me  as  of  secondary  importance ;  but  in  the 
table  which  I  have  designed  for  the  readers  of 
this  journal,  appearance,  in  conjunction  with 
novelty,  is  the  predominating  characteristic. 

To  what  uses  it  may  be  put,  apart  from  those 
of  any  ornamental  table,  I  will  not  pretend  to 
enumerate ;  but  I  leave  it  to  those  who  may 
consider  it  worth  any  attention,  with  the  hope 
that  it  may  act  in  a  similar  manner,  although, 


perhaps,  loss  important,  as  the  stuffed  couch, 
etc.,  by  suggesting  to  some,  uses  which  they 
may  not  previously  have  thought  of. 

It  is  not  at  all  unlikely  that  my  readers  will 
have  been  soliloquising  upon  the  title  I  have 
attached  to  this  article.  They  all  know,  I 
expect,  what  a  chameleon  is — that  curious  little 
creature  which  Nature  has  so  fashioned  that,  at 
different  periods  it  has  a  differently  tinted  skin. 
Let  me  inform  them  at  once  that  this  table  is  not 
going  to  change  its  colour  periodically.  Oh,  no  ! 
Why  I  call  it  by  such  a  name  is  because  it  is 
changeable  in  appearance.  (This  is  made  clear 
by  Figs.  1  and  2.) 

I  believe  human  nature  is  very  fond  of  what 
might  be  appropriately  termed  "  chameleonism." 
A  man  soon  tires  of  the  neighbourhood  in  which 
he  lives;  of  his  house;  of  the  furniture  in  that 
house  ;  and  of  the  clothes  he  wears  :  he  wants  a 
change.  Very  few  people  are  exempt  from  this 
state;  in  fact,  each  generation  has  to  thank 
itself  and  previous  generations  that  this  is  so. 
Nearly  all  inventions  are  but  the  outcome  of 
this  desire  for  change. 

Here  is  a  table  which  could  be  accommodated 
in  a  certain  part  of  a  room,  having  its  flaps 
down,  and  remain  so  until  its  possessor  is  tired 
of  its  appearance  ;  when  the  flaps  of  it  could  be 
adjusted,  and  a  table  entirely  different  in  aspect, 
so  far  as  its  uppermost  parts  are  concerned,  be 
the  result.  Many  ladies  would  welcome  such  a 
table  as  this  for  use  during  an  afternoon  when 
a  few  friends  called  to  partake  of  a  sociable  tea  ; 
and  I  have  been  very  anxious  that  in  such  a  case 
there  should  be  no  cause  for  the  complaint  to  be 
made  that  its  numerous  flaps  were  capahle  of 
creating  annoyance  during  adjustment;  and  I 
have,  therefore,  so  designed  the  article  that  all 
its  flaps  should  assume  either  a  horizontal  or  a 
perpendicular  position  at  precisely  the  same 
moment.  To  effect  this  result,  I  have  devised  a 
movement  the  very  simplicity  of  which  should 
commend  it  to  my  readers'  notice.  When  about 
to  adjust  the  table  as  shown  in  Fig.  2,  the  left 
hand  would  hold  the  table-top  (Fig.  1),  while 
the  right  hand  would  turn  the  legs  bodily  by 
holding  one  of  them  meanwhile,  when  all  flaps 
would  rise  together.  The  reverse  action  allows  all 
flaps  to  fall. 


A    CHAMELEON  TABLE. 


387 


Before  I  proceed  further,  I  must 
say  that  should  it  be  considered  un- 
desirable to  have  all  flaps  to  rise  and 
fall  at  the  same  time,  there  is  no 
reason  why  they  should  not  be  so 
made  that  only  one,  two,  three,  etc., 
could  be  adjusted  horizontally ;  but 
I  shall  only  deal  with  it  as  acting 
automatically. 

The  table  can  be  made  in  any  size, 
but  the  board  intended  to  form  the 
complete  table-top  should  in  every  in- 
stance be  square,  and  be  divided  into 
eight  equal  square  parts,  the  four 
corner  squares  of  which  will  be  again 
divided  (as  shown  by  the  lines  in  Fig. 
14),  for  the  purpose  of  forming  the 
flaps ;  therefore,  the  parts  marked  a 
(Fig.  14),  should  be  sawn  out,  thus 
leaving  a  solid  board  of  the  shape 
shown  in  Fig.  13.  It  will  be  under- 
stood what  position  the  hinges  will 
occupy.     There  will  be  eight  pairs  of 


VIEW  OF  TABLE  WITH    FLAPS    DOWN. 


them,  the  number  of  which, 
at  first  mention,  might  causo 
some  amateurs  to  discard  any 
intentions  to  try  their  skill 
upon  the  table ;  but  I  must 
remind  any  hesitating  reader 
that  this  very  reason  which  he 
may  deem  sufficient  to  pre- 
clude all  desire  to  progress 
with  the  article,  should  be  ac- 
cepted as  a  good  opportunity 
for  practising  the  apparently 
simple,  but  nevertheless  rather 
difficult,  work  of  hingeing. 

The  effect  to  be  obtained  by 
having  merely  a  straight  edge 
to  all  the  flaps  where  they 
come  in  direct  contact  with 
the  larger  top  board,  would 
be  far  from  unsightly ;  but 
the  preference  should  be  given 
to  moulded  edges,  such  as,  for 
instance,  that  shown  in  section 


FIG.  2.— VIEW  OF  TABLE  WITH  FLAPS  ADJUSTED,  AND  STANDING  ON  SAME  SPOT. 


at  Fig.  7. 


388 


A    CHAMELEON  TABLE. 


At  Figs.  10  and  12  an'idea  is  conveyed  of  the 
construction  of  the  under  part  of  the  table. 
There  are  four  legs  framed  together,  as  shown 
in  these  diagrams.  Before  passing  on  to  the 
novel  feature  of  this  table,  I  will  give  a  method 
of  making  the  framing,  the  particulars  of 
which  will  apply  appropriately  to  the  stretcher 
(bottom)  cross-rails,  upon  which  rests  the  fret- 
surrounded  board,  and  to  the  cross- rails  imme- 
diately above  the  framing,  with  the  exception, 
in  the  latter  case,  of  the  ends.  Fig.  16  shows 
what  I  consider  to  be  the  best  way  to  join  these 
rails.  When  fitted  together,  each  will  be  flush 
with  the  other.  The  ends  of  the  framing  and 
stretcher  rails  should  be  mortised,  to  fit  into 
tenons  on  the  leg  blocks ;  the  thickness  of  the 
legs  must  depend  upon  the  size  of  the  table-top. 
If  the  latter,  when  fully  opened,  is  about  2  feet 
square,  legs  1£  inches  thick  at  their  stoutest 
part  would  be  suitable.  I  have  shown  square 
legs,  because  I  believe  they  will  look  as  well  as 
turned  ones  ;  but  need  I  say  that  their  use  is 
not  absolutely  necessary  ?  The  outsides  of  the 
leg  blocks  should  be  at  a  short  distance  from  the 
table  edge. 

Upon  the  stretcher  rails  might  be  a  board 
with  a  moulded  edge,  and  ornamented  with 
fretwork.  It  would  be  screwed  in  position  from 
underneath  the  rails,  and  its  size  is  purely 
optional. 

The  under  parts  being  ready,  the  top  cross- 
rails  (their  ends  being  rounded)  are  placed  upon 
the  table  framing,  and  a  hole  drilled  completely 
through  the  centre  of  each,  through  which  will 
pass  a  pivot  from  underneath,  which  will 
penetrate  the  centre  of  the  table-top,  and  firmly 
secure  the  under  parts  in  such  a  manner  that 
either  they  or  the  table-top  may  be  turned  to 
either  the  right  or  the  left,  without  the  other 
necessarily  moving.  One  arm  of  the  top  cross- 
rails  will  have  to  be  shallowed  down  a  little,  in 
order  that  it  may  afford  space  for  the  free  play 
of  the  simple  but  effective  movement  I  am  now 
going  to  describe. 

My  object  in  devising  this  movement  was, 
as  I  before  said,  because  I  wished  to  give  my 
readers  a  means  of  adjusting  all  flaps  at  once,  if 
considered  desirable.  When  the  movement  is 
in  position,  it,   in  conjunction  with  the  other 


parts,  will  appear  as  in  Fig.  10.  It  must  be 
supposed  that  the  table-top  is  now  upon  them 
with  all  flaps  down,  as  in  Fig.  1.  To  adjust 
them,  one  hand  would  hold  a  part  of  the  table- 
top,  while  the  other  would  grasp  the  front  leg 
(as  appears  in  the  drawings  is  meant),  and  turn 
it  to  the  right,  when,  without  any  handling,  the 
top  cross-rails  would  turn  to  the  left.  It  will  be 
seen  by  glancing  at  Figs.  10,  12,  13,  and  14, 
now  and  again,  that  this  action  must  result  in 
the  adjustment  of  all  the  flaps,  and  that,  in  like 
manner,  when  the  legs  are  turned  again  into 
their  original  position  (Fig.  10),  the  flaps  will 
all  fall  together ;  as  the  top  cross-rails  will,  in 
this  case,  turn  in  the  opposite  direction,  and 
assume  a  position  exactly  above  the  under - 
framing. 

The  movement  is  shown  by  itself  in  Fig.  15  ; 
it  is  supposed  to  be  of  iron,  but  as  it  can  be 
made  in  wood,  I  shall  describe  it  as  being 
composed  of  the  latter  material,  a  a  is  a  rail 
with  three  holes  bored  through  it — one  at  each 
end,  and  one  somewhere  between  the  further 
end  and  the  middle,  the  end  holes  being  wider 
at  the  top  than  at  the  bottom  (Fig.  5 ).  b  b  is  a 
similar  rail,  but  with  holes  only  at  the  ends,  and 
reversed  to  those  in  a  a.  The  former  rail  fits 
closely  against  the  top  of  the  top  cross-rails, 
and  the  latter  rail  against  the  under  side  of  the 
table  framing.  Between  the  two,  at  each  end, 
are  turned  rods,  c  o  (shown  also  iu  Fig.  9),  the 
ends  of  which  will  fit  into  the  holes  of  the  rails 
just  mentioned,  so  that  they  may  revolve  freely 
therein.  To  keep  all  together  properly,  a  ring 
would  be  glued  to  each  dowel  (and  not  to  the 
long  rails,  a  a  and  b  b),  as  in  Figs.  4  and  6. 
To  each  rod,  c,  would  be  fixed  another  short  rod, 
d,  terminating  in  a  ball  (Figs.  9  and  15).  The 
fitting  of  the  latter  rod  might  be  left  until  the 
movement  in  its  otherwise  finished  state  was 
placed  in  proper  position  by  being  passed  up 
over  the  table  leg  (before  fitting  the  stretcher 
rails).  One  arm  of  the  top  cross-rails  must  be 
shaped  for  part  of  its  length,  as  iu  section  r 
(Fig.  3) ;  and  the  arm  of  the  framing  imme- 
diately below  it  similarly  treated  in  a  reverse 
direction,  as  in  a,  Fig.  3.  The  positions  of 
these  slots  are  shown  in  Figs.  10  and  12. 

When  thus  far  complete,  the  rods  c  c  can  be 


A    CHAMELEON  TABLE. 


389 


FIG.  3.— SECTIONS  OF  CROSS-RAILS  AND  FRAMING  RESPECTIVELY.  FIGS.  4,  5,  AND  6. — DIAGRAMS  IN  CONNECTION  WITH 
TOP  OF  SPINDLE  SHOWN  IN  FIG.  9.  FIG.  7. — SUGGESTIVE  SECTION  FOR  TABLE-TOP  AND  FLAPS.  FIG.  8.  — HOW  INSIDE 
CORNERS  OF  THE  FLAPS  MUST  BE  SHAPED.  FIG.  9. — SPINDLE,  ETC.,  AT  EACH  END  OF  MOVEMENT  (FIG.  15).  FIGS.  IO 
AND  12. — UNDER  PART  OF  TABLE  SHOWN  IN  POSITION  TO  ALLOW  ALL  FLAPS  TO  FALL,  AND  TO  ADJUST  THEM, 
RESPECTIVELY  ;  THE  MOVEMENT  TO  EFFECT  THIS  RESULT  BEING  THERE  SHOWN.  FIG.  II. — CORNER  OF  RIGHT-HAND 
FLAP  IN  FIG.  8.  FIGS.  13  AND  14:— PLANS  OF  FIGS.  IO  AND  12  RESPECTIVELY.  FIG.  15. — THE  MOVEMENT.  FIG.  16. — 
HOW  TO  SHAPE  FRAMING,   ETC.,    FOR  JOINING. 


fixed  by  means  of  one  being  passed  through  the 
slot  in  f,  so  that  the  ball  of  it  may  work  in  the 
hollowed  portion  of  that  rail ;  and  another 
through  the  slot  in  g,  so  that  its  ball  may  work 
in   an   opposite  direction.     The  movement  will 


now  be  securely  pivotted,  through  its  middle 
hole,  to  the  table-top  ;  the  pivot  must  have  a 
very  flat  head,  in  order  to  permit  free  action  on 
the  part  of  the  movement,  etc.  It  will  be 
useless  to  name  any  l?ngth  for  this  movement, 


390 


HOW  TO    CAST  A    CHAIN. 


but  it  will  be  useful  to  say  that  the  distance  it 
will  be  pivotted  from  the  table  edge  will  be 
about  f-  of  that  particular  projection  to  which  it 
is  attached,  and,  of  course,  along  the  middle  line 
of  it.  It  must  be  borne  in  mind,  however,  that 
it  must  be  long  enough  to  permit  the  framing 
and  cross-rails  to  assume  the  positions  shown  in 
plans  Figs.  13  and  14;  and  must  not,  when 
adjusted,  as  in  Fig.  14,  be  quite  parallel  to  the 
edge  of  the  table  ;  as  if  so,  difficulty  would  be 
experienced  in  its  retaining  its  original  position. 
There  must  be  more  length  between  its  further 
end  and  the  edge  of  the  table,  than  between  its 
nearer  end  and  the  latter,  when  as  in  Fig.  14. 

It  may  be  wondered  why  I  have  shown  the 
little  quarter-circular  pieces  in  the  corners  of 
the  table-top  (Figs.  1  and  2).  I  must  explain. 
When  the  flaps  are  cut  at  first  they  would,  of 
course,  fit  nicely  together  when  they  were 
adjusted;  but  when  they  were  required  to  fall, 
it  would  be  found  that  at  the  inside  corners  they 
would  not  lay  properly,  by  reason  of  the  thick- 
nesses preventing  them.  Therefore,  those  corners 
must  be  cut  off,  and  the  square  thus  formed 
(Fig.  8)  will  be  in  width  equal  to  half  the 
thickness  of  a  flap.  A  small  circular  board, 
half  the  thickness  of  the  table-top  (which  might 
be  |  inch),  will  give  the  pieces  required  to  fit 
into  the  corners.  After  the  corners  are  cut  off 
the  flaps,  they,  at  those  points,  should  be 
shallowed  to  half  their  depth,  to  admit  the 
round  portion  of  the  corner  pieces,  thus  allowing 
all  parts  of  the  table  to  lay  flush  with  each 
other.  Fig.  11  shows  the  appearance  of  a 
corner  of  a  flap  after  being  thus  treated ;  and 
Figs.  13  and  14  show,  respectively,  plans  of 
the  same,  with  the  quarter-circular  pieces  in 
position. 

The  outline  of  the  table-top  could  be  infinitely 
varied  ;  and  it  is  because  it  is  a  comparatively 
simple  matter  to  devise  a  pattern  to  suit 
personal  taste,  that  I  refrain  from  giving  more 
designs  than  that  in  Figs.  1  and  2. 

By  suitable  manipulation,  such  as  inlay  or 
stencilling,  I  feel  certain  that  the  finished  table 
will  give  pleasure  to  my  amateur  friends  ;  while 
the  construction  of  it  would  give  scope  for  the 
display  of  what  is  very  often  commendable 
"amateur  work." 


HOW  TO    CAST   A   CHAIN. 

By  W.  P.  M.  BLACK,  B.L. 


^psSOWEVEE  simple  the  process  referred 
to  in  the  above  title  may  seem — to  an 
outsider    everything   connected   with 


the  mechanical  arts  appears  easy — I  doubt  not 
that  to  the  great  majority  of  my  readers  it  will 
seem,  as  it  seemed  to  me  not  long  ago,  scarcely 
within  the  bounds  of  possibility.  The  process  of 
chain-casting  has,  however,  been  long  practised 
in  Japan,  and  has  even  in  this  country  been 
done  experimentally.  In  this  country,  where 
the  conditions  under  which  manufactures  can  be 
carried  on  differ  widely  from  those  prevalent  in 
a  country  like  Japan,  the  process  was  seen  to  be 
commercially  impracticable,  and  consequently 
never  got  beyond  the  experimental  stage.  As 
the  amateur,  however,  stands  upon  quite  a 
different  platform  from  his  professional  brother, 
I  had  thought  at  one  time  that  this  process,  so 
successfully  practised  by  the  professional  work- 
man in  Japan,  might  be  used  with  advantage  in 
this  country  by  the  amateur ;  but  after  carefully 
considering  the  matter,  I  came  to  the  conclusion 
that  the  adoption  of  this  process  for  ordinary 
work  would  be  a  sheer  waste  of  time,  even  by 
the  amateur  who  has  plenty  of  leisure.  How- 
ever, I  shall  content  myself  in  this  paper  with  a 
brief  description  of  the  easiest  method  of  cast- 
ing a  chain,  so  that  those  of  my  readers  who 
may  wish  to  cast  one— not  for  use,  but  as 
an  interesting  experiment— may  be  able  to 
do  so  with  the  least  waste  of  time  and  energy. 
The  process  I  here  describe  will  only  be  capable 
of  being  used  for  some  of  the  most  fusible 
metals,  such  as  lead  or  pewter ;  but  that  will 
not  matter,  as  the  product  of  our  experiment 
will  be  speedily  transferred  from  the  workshop 
to  our  cabinet  of  curiosities,  where  the  calls  upon 
its  durability  will  be  such  as  any  soft  metal  can 
easily  sustain. 

No  preliminary  pattern-making  will  be  re- 
quired in  order  to  make  this  experiment,  for  our 
mould  will  be  of  brass,  and  will  be  made  direct, 
without  the  use  of  any  pattern.  To  cast  an 
oval-linked  chain,  2  inches  by  1  inch,  which  is, 
perhaps,  as  small  as  we  can  make  with  good 


HOW  TO    CAST  A    CHAIN. 


391 


Fl  C    I 


hope  of  succeeding,  we  require  for  our  mould 
four  oblong  pieces  of  brass,  about  3  inches 
long,  £  inch  broad,  and  \  inch  high ;  take  two  of 
these  pieces,  fix  them  together  as  at  Fig.  1, 
and  cut  an  oval  groove  of  semicircular  section, 
like  that  shown  at  Fig.  1,  on  one  of  their  two 
largest  surfaces ;  fix  the  other  two  pieces  of 
brass  together  in  the  same  way,  and  cut  a 
similar  groove  in  them,  taking  care  that  it 
entirely  coincides  with  the  groove  cut  in  the 
other  two  pieces  of  brass  ;  then 
cut  one-half  of  the  tapered 
pouring  hole,  shown  at  a,  Fig. 
1,  in  each  of  the  two  pieces  of 
brass  that  are  to  be  uppermost 
when  the  mould  is  being  used. 
Now  take  the  two  bottom  pieces 
of  brass  mould  that  are  to  be, 
and  fixing  them  together  with 
the  semi-elliptical  groove  on 
the  one  facing  that  on  the 
other,  and  so  making  a  semi- 
elliptical  tube,  cut  two  grooves 
like  that  shown  at  b  b,  Fig.  2, 
upon  the  surface,  where  the 
ends  of  the  semi-elliptical  tube, 
just  referred  to,  present  them- 
selves.  Having  accomplished 
that,  fix  together  the  two 
pieces  of  brass  that  are  to  be 
uppermost,  and  treat  them  in 
the  same  way ;  now  place  the 
four  pieces  of  brass  together, 
grooved  parts  all  inside  and 
pouring  hole  uppermost,  and 
your  mould  is  complete. 

Something,  however,  is  required  to  keep  the 
four  pieces  of  the  mould  together  during  the 
process  of  casting.  The  most  easily  made  thing 
for  that  purpose  is  a  wooden  box,  with  a  top, 
but  without  any  ends,  into  which  the  four 
pieces  of  brass  can  be  slipped.  In  the  middle 
of  the  top  a  hole,  considerably  larger  than  the 
pouring  hole,  will  require  to  be  cut,  to  admit  of 
the  metal  being  poured  into  the  mould.  (See 
Fig.  3.) 

It  but  remains  to  describe  succinctly  how  this 
mould  is  used  for  producing  a  chain.  The  mould 
having  been  put  together,  and  slipped  inside  its 


Fir.  2 


FIC.  3 

FIG.  I. — VERTICAL  SECTION  SHOWING  ONE- 
HALF  OF  VERTICAL  MATRIX  AND  POUR- 
ING HOLE.  FIG.  2.  —  HORIZONTAL 
SECTION  SHOWING  ONE-HALF  OF  HORI- 
ZONTAL MATRICES.  FIG.  3. — WOODEN 
COLLAR  OR  SHEATH  FOR  KEEPING  THE 
PARTS  OF  THE  MOULD  TOGETHER. 


wooden  collar,  some  molten  metal  is  poured  iu 
at  the  pouring  hole  until  the  mould  is  filled ; 
the  metal  is  then  allowed  to  cool,  and  when  it 
has  hardened,  the  mould  is  slipped  out  of  its 
collar,  the  link  which  has  been  formed  removed 
from  the  vertical  matrix,  and  placed  in  one  of 
the  horizontal  matrices,  and  the  mould  once 
more  slipped  into  its  collar,  the  one  half  of  the 
freshly  formed  link  protruding  from  the  end  of 
it ;  more  molten  metal  is  then  poured  in  at  the 
pouring  hole,  and  when  that 
has  set,  and  the  mould  is  again 
removed  and  taken  apart,  two 
links  will  be  found  wedded 
together.  The  embryo  chain 
is  then  removed  from  the 
mould,  and  one  of  the  links 
placed  in  one  of  the  horizontal 
matrices,  the  other  link  hang- 
ing loosely  outside  the  mould  ; 
and  when  the  mould  has  been 
replaced,  more  molten  metal 
is  poured  in.  This  process  is 
continued  until  the  requisite 
length  of  chain  is  obtained. 

Should  it  be  desired  to  pro- 
duce an  endless  chain,  that  can 
easily  be  accomplished  by 
placing  the  one  end  link  of  the 
chain  in  the  horizontal  matrix 
at  the  one  end  of  the  mould  ; 
and  the  other  end  link  of  the 
chain  in  the  horizontal  matrix 
at  the  other  end  of  the  mould, 
the  rest  of  the  chain  hanging 
meanwhile  outside  the  mould, 
and  then  casting  a  link  which  will  join  the 
whole  into  an  endless  chain. 

The  product  of  your  experiment,  having  been 
filed  so  as  to  remove  the  marks  of  the  mould, 
can  then  be  exhibited  to  friends  as  an  endless 
chain,  without  a  single  join  in  any  of  its  links  ; 
and  hence  a  curiosity  worthy  of  being  looked  at. 
I  would  only  add,  in  conclusion,  that  those 
who  have  had  no  experience  of  casting  should 
read  very  carefully  the  article  on  "  Moulding  and 
Casting,"  in  Spon's  "Mechanic's  Own  Book," 
before  attempting  the  experiment  I  have 
described. 


392 


SIMPLE    ORNAMENTAL    TURNING. 


SOME  CHAPTERS  ON 
SIMPLE  ORNAMENTAL  TURNING. 


HyJ.  L.  OIF  YE  II. 


IV. 


Fluting  Cutter— Pulleys— Overhead- 
Plate. 


Division 


N  alternative  method  of  securing  the 
body  of  the  cutter  to  the  spindle  is 
shown  at  Fig.  23.  Instead  of  the 
shoulder  and  disc,  there  is  a  flat-headed  steel 
screw  threaded  into  the-  point  of  the  spindle, 
with  a  washer  between  it  and  the  body  of 
cutter.  This  washer  has  a  square  hole  to 
prevent  it  from  turning,  and  the  point  of  the 
spindle  is  squared  to  fit.  It  is  on  the  same 
principle  as  the  square-holed  washer  above 
the  nut  in  water  or  gas  taps,  and  serves  the 
fame  purpose.  I  prefer  the  shoulder  disc  and 
liners,  though,  as  not  so  liable  to  wear  loose  ; 
but  to  many  the  alternative  plan  may  be 
acceptable. 

A  great  deal  of  work  can  be  done  with  this 
eccentric  cutter,  but  it  requires  an  overhead, 
division  plate,  pointer,  and  stops,  before  it  is 
good  for  much.  I  will,  however,  pause  to 
describe  the  fluting  cutter,  which  may  also  be 
used  for  cutting  cog-wheels,  and  many  other 
little  jobs.  It  is  a  more  simple  affair  than 
the  eccentric  cutter,  and  is  shown  complete 
at  Fig.  24.  It  consists  of  two  parts,  which  I 
will  call  the  spindle  and  the  holder. 

The  spindle  is  of  steel,  4J  inches  long  and 
|  inch  in  diameter ;  at  one  end  is  a  gun-metal 
pulley  with  three  speeds  of  2  inches,  If  inches, 
and  |  inch  in  diameter,  and  J  inch  wide  each, 
grooved  rather  deeply,  but  with  the  edges  and 
angles  nicely  rounded,  so  that  if  the  gut  should 
fly  off  it  would  not  be  cut.  Just  opposite  the 
shank  of  the  holder  a  }  inch  hole  is  drilled 
through  the  spindle,  and  a  set  screw  tapped  in 
at  right  angles,  to  hold  the  tools  in  this  hole. 

The  method  of  making  this  spindle  is  as 
follows  : — First  centre  and  drill  deeply  the 
steel  bar  (some  people  drive  hard  pieces  of  steel 
into  holes  bored  at  the  ends,  as  shown  in  Fig. 
25)  ;  then  turn  it  roughly ;  next  bore  the 
hole  in  pulley,  and  drive  the  spindle  in  very 
tightly ;  then  put  in  lathe  again,  and  turn  the 
whole  lot  true,  and  polish  up. 


For  the  holder  a  forging  should  be  made  of 
|  inch  square  iron,  with  the  shank  large  enough 
to  turn  |  inch.  The  dimensions  are  given  in 
Fig.  26.  The  shank  should  be  nicely  turned  to 
|  inch,  and  a  hole  drilled  in  a  piece  of  f  inch 
steel,  into  which  the  shank  can  slip,  and  then  be 
clamped  in  the  slide-rest.  To  allow  of  this, 
after  the  hole  has  been  bored,  the  bar  should 
be  sawn  nearly  the  whole  length,  as  in  Fig.  27. 
Steel  set  screws  with  hardened  points  are 
threaded  into  the  holder  where  shown,  and  it 
would  be  well,  if  the  screws  are  not  very  tight, 
to  have  lock-nuts  outside,  as  shown  in  Fig. 
24.  At  one  end,  instead  of  a  set  screw,  I  use 
a  little  cone  rivetted  in,  as  seen  in  Fig.  24 ;  it 
is  entirely  out  of  the  way. 

A  very  useful  addition  to  this  cutter  is  a  pair 

of   direction   pulleys,    which    will    enable    the 

operator   to   use   the   cutter    with    the   spindle 

vertical;  they  are  shown  in  Figs.  28  and  29. 

They  run  on  the  ends  of  a  spindle  2£  inches 

long ;  this  spindle  is  f  inch  square  steel,  with 

the  ends  turned  down  to  }  inch  for  the  wheels. 

The  latter  may  be  of  gun-metal  or  hard  wood ; 

lignum    vitse    or   cocus   does   very   well.     The 

grooves   are   rather   wide     and    rounded,    and 

2  inches  apart,  so  as  to  direct  the  band  to  the 

largest  pulley  on   the    spindle.     The  whole  is 

fastened  to  the  cutter  by  a  screw  and  a  "  steady 

pin."     A  steady  pin  is   to  prevent   the  guide 

pulleys  from   "  slewing  round,"  and  can  easily 

be  put  in  as  follows :—  When  the  guide  pulleys 

spindle  is  firmly  screwed  on  at  the  right  position, 

drill  a  small  hole,  at  the  side  of  screw,  through 

the  spindle,  and  about    L  inch  into  the  holder  ; 

then  take  off  spindle,  rivet  a  piece  of  wire  into 

the  hole,  leaving  %  inch  projecting  inside  ;  file 

up  this  projecting  bit  till  it  fits  the  hole  in  the 

holder.     The     insertion    of     the    screw    quite 

loosely   will    then    prevent    the    spindle    from 

shaking  loose.    (See  Figs.  28  and  29.) 

We  have  now  two  cutters  made,  but  they 
will  be  quite  useless  until  we  are  provided  with 
some  more  fittings;  viz.,  the  overhead,  the 
division  plate,  and  pointer,  and  the  stops. 

Of  overheads  it  is  scarcely  necessary  for  me 
to  give  any  explanation,  as  three  have  already 
been  described  in  the  pages  of  Amateur  Work. 
They  are    simply   for   transmiting  the  motion 


SIMPLE   ORNAMENTAL    TURNING. 


393 


of  the  fly-wheel  to  the  cutters  I  have  described, 
when  held  in  the  slide-rest.  The  one  I  use  at 
present  is  the  simplest  and  easiest  to  make  of 
any  I  have  ever  seen.  Its  details  are  seen  j 
sufficiently  from  the  figures  already  given, 
notably  Fig.  5.  It  consists  essentially  of  four 
direction  pulleys  made,  preferably,  of  wood,  as 
being  lightest.  They  are  hung  on  a  bar  which 
might  be  hinged  from  the  ceiling,  or,  if  it  is 
wished  to  have  the  lathe  self-contained,  it  may 
be  slung  between  two  upright  bars  fixed  to  the 
ends  of  the  lathe.  My  upright  bars  and  top  are  L 
|  inch  round  iron,  and  the  uprights  fit  into 
holes  in  the  bench,  so  that  when  not  using  it  I 
can  lift  out  the  entire  overhead  in  a  second. 
The  cross  bar  is  hinged  to  the  left-hand  standard 
by  cutting  a  slot  in  one,  and  filing  the  other  flat 


FIC.23. 


until  it  fits  the  slot.  A  hole  drilled  through 
admits  of  a  pin,  which  I  can  remove,  and 
thus  have  only  three  bars  to  put  aside.  On 
top  of  the  right-hand  standard  there  is  a  little 


394 


A   SIMPLE  REFRIGERATOR  FOR  DOMESTIC   USE. 


brass  pulley,  one  of  those  used  by  grocers  to 
bang  tbeir  scales  from.  I  drilled  a  bole  axially 
in  tbe  top  of  tbe  standard  I J  incbes  deep,  so  tbat 
tbe  screw  of  tbe  pulley  fitted  ratber  tigbtly,  and 
tben  put  it  in. 

Tbe  slings  from  which  the  direction  pulleys 
hang  are  very  simple,  being  simply  pieces  of 
flat  iron  f  inch  wide,  \  inch  thick,  4  inches 
long ;  a  hole  is  drilled  through  the  flat  side 
f  inch,  to  take  the  top  bar,  and  one  at  right 
angles,  \  inch  in  diameter,  to  take  the  axle  for 
the  pulleys.    Fig.  30  shows  this. 

The  pulleys  over  tbe  fly-wheel  must  be  sloped 
to  suit  its  size,  by  bending  the  axles  up  so 
that  the  pulleys  will  be  further  apart  below 
than  above  (Fig.  31).  A  piece  of  brass  tubing 
between  wheels  and  sling  will  prevent  them 
from  rubbing.  The  wheels  themselves  should 
be  about  4  inches  in  diameter,  and  f  inch  thick, 
nicely  turned  with  deep  grooves ;  pieces  of 
brass  tubing  would  do  nicely  for  axle  boxes. 

Set  screws  should  be  used  to  fasten  the  slings 
at  any  point  in  the  cross  bar.  A  weight  imparts 
any  desired  tension  to  the  band.  I  use  a  little 
bag,  which  I  fill  with  bullets,  pieces  of  iron, 
etc.,  and  can  thus  vary  the  tension  ;  but  I  very 
rarely  do  this.  A  good  band  could  be  made  of 
£  inch  gut. 

The  division  plate  is  the  next  requirement, 
and  it  is  a  thing  which  could  not  properly  be 
made  except  access  be  had  to  a  lathe  already 
provided  with  one.  It  is  a  very  expensive  item, 
too  ;  Messrs.  Booth  Brothers,  of  Dublin,  charge 
£2  10s.  for  one  divided  in  four  rows  of  180,  144, 
112,  and  100  holes.  A  friend  of  mine  was 
greatly  taken  in  some  time  ago.  He  saw  an 
advertisement  of  a  division  plate  for  Is.  7d.,  or 
something  like  that ;  he  sent  his  money,  and  in 
return  got  a  printed  one  on  paper,  which,  of 
course,  was  quite  useless. 

Considering  the  difficulty  of  making  a  division 
plate  almost  insurmountable,  and  wishing  to 
have  my  readers  able  to  follow  my  directions, 
and  provide  themselves  with  ornamental  turning 
arrangements,  I  will  divide  a  plate  for  any 
reader  of  Amateur  Work  at  a  merely  nominal 
charge.  This  is  entirely  to  prevent  the  rush  of 
applicants  which  I  foresee  did  I  offer  to  do  it 
for  nothing. 


A   SIMPLE   REFRIGERATOR    FOR 
DOMESTIC    USE. 

By  C.  MAYNARD    WALKER. 

HE  idea  of  a  refrigerator  is  usually 
associated  with  an  elaborate  and  ex- 
pensive apparatus  occupying  a  con- 
siderable amount  of  room,  and  requiring  to  be 
kept  up  with  a  regular  supply  of  ice,  and  a 
somewhat  expensive  article,  and  more  or  less 
difficult  to  obtain,  according  to  the  locality  in 
which  one  lives.  For  many  business  purposes, 
such  an  article  is  almost  a  necessity,  without 
which,  butchers,  game  dealers,  and  others  in 
towns  would  come  off  badly  during  the  very  hot 
weather  with  which  we  are  occasionally  favoured 
during  the  summer  months  ;  but  I  shall  show, 
however,  that  for  all  ordinary  purposes  con- 
nected with  the  household  a  much  simpler 
apparatus  will  answer  the  purpose  admirably, 
and  that  all  articles  of  food,  etc. ,  can  be  kept  at 
a  suitable  degree  of  cold,  even  in  tbe  hottest 
weather,  by  a  very  simple  and  inexpensive 
method.  The  terms  "  hot  and  cold"  are  terms  of 
convenience  rather  than  accuracy,  and  refer  in  a 
comparative  sense  to  something  that  is  either 
hotter  or  colder  than  the  particular  temperature 
referred  to  at  the  moment.  Now,  it  was  well- 
known  to  the  ancients  that  "  evaporation  pro- 
duces cold,"  and  acting  upon  this  natural  law 
they  managed  very  successfully  to  keep  their 
drinking  water  at  a  cool  temperature,  in  spite  of 
the  burning  sun  and  sultry  heat  of  the  tropical 
East,  their  plan  was  to  keep  the  water  in  porous 
earthenware  bottles.  Fig.  1  represents  one  of 
this  kind  as  found  in  the  ruins  of  Pompeii  ;  tbe 
operation  of  this  is  apparent — the  bottle  being 
filled  with  water  and  stood  in  the  shade,  its  sur- 
face became  damp  as  soon  as  the  water  oozed 
through  the  porous  material,  the  air  imme- 
diately tended  to  evaporate  this,  and  cooled  tbe 
surface  of  the  bottle,  and  the  contents  also, 
as  the  process  went  on.  The  reader  may  satisfy 
himself  that  this  cooling  takes  place,  even  with 
very  warm  air,  by  moistening  tbe  back  of  his 
hand  with  water,  and  blowing  with  his  mouth  ; 
although  the  breath  will  be  80  or  more  degrees, 
the  sensation  of  cold  will  be  very  marked,  but 
will  disappear  as  soon  as  the  hand  becomes  dry. 


A   SIMPLE  REFRIGERATOR  FOR  DOMESTIC    USE. 


395 


But,  perhaps,  the  most  striking  example  of  the 
working  of  this  law  is  that  of  the  well-known 
lecture  experiment  of  freezing  a  small  quantity 
of  water  into  ice  in  the  centre  of  a  red-hot 
platinum  crucible ;  this  startling  effect  being 
produced  by  the    extreme   rapidity    of   evapo- 


of  water — the  whole  being  covered  with  canvas. 
Whether  it  is  hung  upon  a  bracket,  or  stood 
upon  a  bench,  or  upon  the  floor,  is  a  matter  of 
convenience  only.  The  place  chosen  for  it  should 
be  in  the  shade,  and  in  a  draughty  situation — 
the  draughtier  the  better  ;  the  action  will  be  as 


FIG.  2.— REFRIGERATOR    IN   POSITION. 

ration  of  the  liquid  used  in  the 
crucible.  It  is  in  precisely  the  same 
manner,  only  in  a  lesser  degree,  that  the 
ordinary  butter-cooler  (consisting  of  a 
covered  zinc  hood  standing  in  a  tray 
of  water)  is  made  to  fulfil  the  very 
useful  service  of  keeping  the  butter  in 
a  firm  condition  when,  if  exposed,  it 
would  become  so  much  oil. 

Having  now  ascertained  by  what 
means  the  refrigerator  is  intended  to 
work,  and  having  carefully  examined  the  illus- 
trations, it  only  remains  for  the  reader  to  decide 
upon  the  dimensions  most  suitable  to  his 
requirements  before  making  up.  Fig.  3 
represents  the  sectional  view  of  a  bracket  cup- 
board, without  a  bottom,  standing  in  a  zinc  tray 


FIG.  I. — 
WATER 


FIG.  3.  — SECTION  SHOWING  GENERAL  ARRANGE- 
MENT (DOTTED  LINES  INDICATE  POSITION 
OF     DOOR). 

follows : — The  canvas  being  wetted  all 
over,  and  the  tray  filled  up  with  water, 
the  draught,  and  the  ordinary  taking 
up  of  moisture  by  the  air,  will  evaporate 
the  moisture  from  the  canvas,  the 
surface  of  which  will  be  rapidly  cooled, 
and  being  in  contact  with  a  good  con- 
ductor in  the  form  of  the  zinc  cup- 
board, heat  will  be  abstracted  from 
the  air  within,  the  canvas  meantime  being 
kept  moist  by  capillary  attraction  from  the 
supply  of  water  in  the  tray,  the  process  being 
continuous  so  long  as  the  supply  of  water  is  kept 
up.  As  I  have  shown,  the  necessary  cooling 
goes  on  even  in  high  temperatures ;  but  in  the 


396 


PHOTO.    LANTERN  SLIDES. 


varying  temperature  of  the  British  Islands  this 
kind  of  refrigerator  is  particularly  successful, 
for,  to  say  nothing  of  the  altered  temperature 
from  day  to  day,  the  average  difference  between 
day  and  night  is  something  like  20  degrees  E, 

Again,  the  air   within  the   cupboard    being 
a  very  bad  conductor  of  heat  while  at  rest,  the 
interior    is   not   materially   altered   by  midday 
heat,  so  that  all  kinds  of  food,  etc.,  likely  to  be 
required  in  the  home  may  be  kept  beautifully 
cool  in  the  hottest  summer.     The  question  of  di- 
mensions is  one  which  must  be  left  to  individual 
requirements,  but  I   would   recommend   a   re- 
frigerator about  18  inches  wide   each  way,  by 
about  2  feet  in  height  —  certainly  not   larger ; 
this  would  give  ample  room  for  a  few  bottles 
of    wine    or   mineral    water,    milk,    puddings, 
butter,  joints,  etc. ;  but  in  the  smaller  sizes  the 
capillary  attraction  is  more  effective.     It  should 
be    made    of    No.    10    zinc,    and   the    corners 
strengthened  on  the  inside  with  angle  bar  zinc 
soldered.     The  top  should  be  domed  ;  or  if  it  be 
inconvenient  to  get  this  done,   it  may  be  left 
flat.     The  shelves  should  be    made    of  wood, 
and  their  ends  must  be  properly  battened,  to 
prevent    warping.      The    door    should    be    as 
small  as  possible,  and  hinged  to  fall  downwards, 
and  should  fit  well  to  the  other  surface.     The 
tray  of  zinc  should  be  about  3  inches  deep,  and 
fitted  with  a  tap,  as  shown.  When  complete,  the 
cupboard  should  be  covered  (except  the  bottom) 
with  a  close-fitting  hood  of  canvas  ;  the  striped 
material  as  used  for  shop   blinds  will  answer 
admirably.     An  opening  is  made  in  the  front  to 
get   at   the    door,    and    an   additional    flap   of 
canvas,  but  much  larger  than  the  opening,  is 
fitted  over  this,  secured  with  ordinary  buttons, 
such  as  are  used  on  clothing.  The  canvas  extends 
to  the  full  depth  of  the  cupboard,  so  as  to  be  under 
water  in  the  tray.     In  use  the  cupboard  should 
be  opened  as  seldom  as  possible,  to  occasion  the 
minimum  of  disturbance  of  the  cold  air  within  ; 
and  the  object  of  the  tap  is  this  :  it  is  found  that 
capillary  attraction  will  not  carry  up  sufficient 
moisture  to  so  great  a  height  as  2  feet  to  get 
the  best  effect ;  so  that  each  time  one  goes  to  the 
refrigerator,  a  mug  of  water  from   the  tap  is 
drawn   off   and  poured    on  to    the    top,    thus 
ensuring  the  necessary  degree  of  moisture. 


PHOTO.  LANTERN  SLIDES: 

HOW     TO     MAKE     THEM    BY    A    NEW 
METHOD. 

By  ALFRED   WRLN. 

HE  process  which  I  am  about  to  describe 
is,  in  the  first  place,  very  easy,  and, 
$\      in  the  second  place,  no  camera  is  re- 
quired;   the   pictures   being    taken  from    un- 
mounted photos,  or  rather  the  negatives  from 
which  the   transparencies   are   produced,   as   I 
shall  show  by  and  bye.     It  will  be  convenient 
to  detail   the  requisite   apparatus.      We   shall 
require,     then — Unmounted     photos,    printing 
frames,  developing  trays,  camel-hair  brush,  ruby 
lantern,   plate  drying  rack,  glass  measure,  dry 
plates,    chemicals,    covering     glasses,    binding 
strips,  lantern  slide  mounts.     It  seems  quite  a 
formidable  list  of  necessaries  ;  but  some  things 
may   be    manufactured    at    home,    which    will 
decrease  the  cost.     We  will  take  the  list  seriatim; 
Photos. — These  must  be  of  necessity  small,  as 
the  standard  size  for  lantern  slides  is  3J  inches 
square ;  if  possible  to  procure  unmounted,  the 
stereoscopic  photos  are  j  ust  the  thing,  and  may 
sometimes  be  purchased  second-hand  at  a  very 
trilling  cost.     It  may  not,  however,  be  possible 
to  get  them  unmounted ;  in  this  case,  a  good 
soaking  in  hot  water,  and  leaving  them  in  for  a 
day  or  two,  to  allow  of  the  water  thoroughly 
permeating  the  cardboard,  will  be  sufficient  to 
loosen  the  photos  from  the  card.     Do  not  attempt 
to  force  them  off,  or  a  tear  will  result.     If  the 
paper  will  not  come  readily,  put  back  again  in 
the  water  till  it  is  more  tractable.     When  your 
photos  are  off,  dry  well  in  clean  blotting-paper, 
and  keep  in  a  book,  so  that  they  may  remain 
quite  flat.     I  may  mention  that  in  the  case  of 
stereoscopic  views  it  will  be  necessary  to  divide 
them ;  this  will  be  no  detriment,  as  they  can  be 
afterwards  mounted  on  cardboard,  and  used  for 
the   purpose    for  which  they    were    originally 
intended.     Carte   size  views  of   places,  or  any 
small  photos,  may  be  utilised. 

Printing  Frames. — These  may  be  made  at 
home  ;  but  as  the  cost  of  them  is  only  about 
6d.  each,  it  would  hardly  pay  for  the  labour 
and  time  necessary  to  make  them.  We  shall 
require  two  or  three  \  plate  size. 


PHOTO.   LANTERN  SLIDES. 


397 


Developing  Trays. — Two  or  three  of  these, 
either  of  ebonite  or  porcelain,  costing  about 
Is.  each ;  they  can,  however,  be  done  without, 
as  pie-dishes  or  soup-plates  can  be  pressed 
into  service  ;  or  the  amateur  may  make  the  trays 
himself,  out  of  tin  or  wood,  taking  care  to  well 
black  japan  them. 

Camel-hair  Brush. — This  will  be  needed  for 
the  purpose  of  dusting  the  plates,  etc.,  previous 
to  exposure.  A  brush  about  li  inches  wide, 
and  costing  about  6d.,  will  be  the  kind  to  use. 

Ruby  Lantern. — The  writer  strongly  advises 
the  amateur  to  use  a  lamp  to  burn  oil,  instead 
of  a  candle  or  night-light.  The  cost  is  a  very 
fair  one — about  3s.  6d.,  or  thereabouts. 

Plate  Drying  Rack. — This,  although  not  ab- 
solutely necessary,  is  a  great  acquisition  ;  the 
price,  to  hold  twelve  plates,  is  about  1  s.  Eacks 
are  made  in  either  wood  or  metal;  the  latter, 
in  the  opinion  of  the  writer,  being  the  best. 

Glass  Measure. — This  can  be  dispensed  with, 
as  a  common  wine-glass  will  do  just  as  well ;  at 
any  rate,  it  makes  a  good  substitute. 

Dry  Plates. — The  writer  uses  for  the  negatives 
■J-plates,  that  is,  4  J  inches  by  3J  inches  ;  but  it  is 
not  absolutely  necessary  to  use  that  size,  as  lan- 
tern plates,  3J  inches  by  3J  inches,  will  answer 
as  well ;  so  it  is  merely  a  matter  of  taste.  One 
advantage,  however,  is  that  the  negatives  are 
one  size,  and  the  positives  or  transparencies  are 
another ;  but,  as  I  said  before,  it  is  immaterial 
which  plan  be  adopted,  the  results  being  the 
same.  "We  shall  require  two  packets  of  plates, 
costing  Is.  each  packet;  the  lantern  plates 
costing  the  same  as  the  J-plates.  The  plates 
must,  of  course,  be  opened  in  ruby  light  only. 

Chemicals. — Hydroquinone  as  a  developer  has 
come  into  general  favour  lately,  and,  notwith- 
standing its  higher  prime  cost  than  some  other 
developers,  will  be  found  as  cheap  as  any  other 
kind.  The  writer  has  developed  as  many  as 
twelve  pictures  with  about  lh  ounces,  and  even 
then  all  virtue  has  not  been  exhausted.  Messrs. 
Hardcastle,  of  East  Street,  Brighton,  make  up  a 
solution  of  hydroquinone,  which  they  will  send  to 
any  address  on  receipt  of  3s. ;  the  quantity  sent 
will  be  two  large  bottles.  If  desired,  the  de- 
veloper may  be  made  at  home,  and  here  is  a 
formula    copied    from    Messrs.    Fry's    list : — 


Hydroquinone,  150  grains;  sulphite  soda,  440 
grains;  bromide  potassium,  25  grains;  distilled 
water  to  make  a  total  bulk  of  20  ounces ;  label 
the  bottle,  and  mark  "  Solution  A."  Now  take 
the  following  : — Carbonate  soda(not  bicarb.),  900 
grains ;  carbonate  potass,  900  grains ;  water 
distilled  to  make  a  total  bulk  of  20  ounces ;  label 
and  mark  "  Solution  E." 

For  Use. — Take  equal  quantities  of  each. 
The  mixed  solution  should  be  colourless,  and 
can  be  used  repeatedly,  and  until  the  developer 
fails  to  render  details  satisfactorily.  Alum  may 
or  may  not  be  used ;  it  is  not  really  needed,  but 
if  desired,  take  ordinary  alum  one  ounce,  water 
four  ounces,  and  label  "  Alum  Solution." 

Fixing  Solution. — Take  of  hyposulphite  of 
soda  three  ounces,  and  water  fifteen  ounces ; 
when  dissolved  pour  into  a  bottle,  and  label 
"  Fixing  Solution."  This  can  be  used  over  and 
over  again ;  but  as  this  salt  is  so  cheap,  it  is 
hardly  worth  while  to  pour  back  again  into  the 
stock-bottle.  The  price  of  hyposulphite  of  soda 
is  about  fourpenee  per  pound. 

Covering  Glasses. — These  will  be  needed  to 
protect  the  film  on  the  transparencies,  the  price 
being  about  6d.  per  dozen.  Wash  them  well  in 
warm  water,  to  which  is  added  a  small  portion 
of  common  washing  soda,  to  free  them  from 
grease ;  rub  them  dry,  and  polish  with  leather 
or  newspaper. 

Binding  Strips. — These  may  be  bought  already 
gummed,  in  a  box,  price  Is.  ;  or  strips  of  black 
paper  may  be  cut  and  gummed  at  home ;  the 
width  should  be  about  \  inch.  The  use  of  these 
will  be  seen  later  on. 

Lantern  Mounts. — These  are  also  sold  in  boxes 
containing  one  hundred  ;  price  Is,  ;  they  are 
of  various  shapes — circles,  squares,  and  ovals. 
They  can,  however,  be  made  at  home  if  desired. 

This  completes  the  list  of  necessaries.  One  or 
two  empty  cigar-boxes  come  in  very  handy  for 
storing  photos  or  negatives,  and  a  black  bag  is 
very  useful  for  placing  the  printing  frames  and 
plates  in  while  using  the  gas. 

The  dark  room — or,  in  the  writer's  case,  a 
scullery — should  be  fitted  with  a  small  table, 
chair,  sink,  and  gas-bracket ;  a  batswing  burner 
is  the  best  to  use.  Failing  gas,  a  good  lamp 
will  do,  and  the  ruby  lamp  may  be  utilised  for 
vol.  m.  (n.s.) — i  i 


398 


PHOTO.   LANTERN  SLIDES. 


the  purpose  by  drawing  out  the  sheet  of  red  glass 
so  as  to  expose  the  white  flame.  A  gas  bracket 
is,  however,  the  handiest,  and  I  shall  assume 
that  illuminant  will  be  used. 

Get  all  your  apparatus  into  the  dark  room 
or  scullery,  as  the  case  may  be ;  close  the  door, 
and  light  the  gas.  Previously  to  this,  the 
reservoir  of  the  ruby  lantern  should  be  filled 
with  oil ;  colza,  with  a  slight  dash  of  petroleum, 
is  a  very  good  combination,  and  burns  well. 
Trim  the  wick  neatly,  and  light,  then  close  the 
lantern,  and  place  on  the  table  fronting  you. 
Measure  out  about  \\  ounces  of  developer  in 
your  glass  measure.  Now  get  out  your  dishes, 
swill  under  the  tap,  and  dry  with  a  clean  cloth  ; 
place  them  under  the  table  before  you,  keeping 
that  on  your  right  hand  for  the  developer,  and 
on  your  left  for  the  fixing  solution  ;  always  keep 
to  this  plan,  so  that  no  mistakes  may  occur.  If 
alum  solution  be  used,  place  the  dish  containing 
it  in  the  middle.  Sufficient  of  the  fixing  solution 
must  be  poured  into  the  dish  to  cover  the  plate 
after  development. 

I  omitted  to  mention  before,  that  it  will  be 
requisite  to  procure  a  piece  of  plain  glass  the 
exact  size  of  your  printing  frame,  or,  rather,  the 
opening  of  it,  namely  4J  inches  by  3 \  inches ;  an 
old  negative  glass  will  be  the  very  thing,  if  pro- 
perly cleaned ;  if  one  is  not  to  hand,  a  piece 
must  be  cut  to  the  right  size.  Lay  the  glass  in 
the  rebate  prepared  for  it  in  the  frame,  having 
carefully  wiped  it  from  all  dust,  etc.  Now  place 
your  paper  photo  on  the  glass  in  the  frame,  as 
nearly  as  possible  in  the  centre  of  it.  The  gas 
must  be  turned  down  to  the  very  lowest  point, 
or  else  the  plates  which  we  now  proceed  to  un- 
pack will  be  spoiled.  Take  out  one  of  the 
J-plates,  and  gently  dust  it  with  the  camel-hair 
brush ;  examine  the  plate  by  the  ruby-light,  and 
you  will  notice  that  one  side  is  duller  than  the 
other  ;  place  the  plate  on  the  paper  photo,  dull 
side  down,  so  that  the  two  photographic  films 
lie  together.  Be  careful  in  doing  this  that  the 
paper  is  not  shifted ;  if  it  be,  it  must  be  re- 
adjusted ;  proceed  to  place  the  hinged  shutter 
on  the  top  of  plate,  and  readjust  the  springs. 
All  is  ready  now  for  exposure.  Hold  the 
printing  frame  in  the  left  hand,  and  with  the 
right  turn  up  the  gas  full,  and  expose  for  about 


twelve  seconds,  or  count  twelve  slowly.  The 
frame  should  be  held  about  eighteen  inches  away 
from  the  gas.  Turn  out  the  light,  and  take  out 
the  exposed  plate,  place  it  in  the  dish  on  the 
right  of  you,  and  pour  the  developer  over  it.  A 
good  plan  is  to  first  swill  under  the  tap  before 
placing  in  developing  bath  ;  the  developer  will 
then  flow  over  more  evenly.  Keep  the  dish 
gently  rocked  for  a  few  seconds  till  all  detail  is 
fully  out.  "Wash  thoroughly  to  remove  de- 
veloper, and  then  either  place  in  alum  bath  for 
a  minute,  or  direct  into  the  hypo  solution.  When 
the  plate  has  been  in  the  fixing  for  a  few  seconds 
the  gas  may  be  relit,  and  the  gradual  decay  of 
the  film  may  be  witnessed.  Let  the  plate  remain 
in  the  bath  for  a  few  minutes  till  all  the  free 
silver  be  dissolved  out,  and  then  thoroughly 
wash  under  the  tap,  to  free  the  plate  from  every 
atom  of  hyposulphite.  It  is  a  good  plan  to 
leave  the  plate  all  night  in  a  basin  of  water. 
When  sufficiently  soaked,  place  in  the  drying, 
rack.  So  much  for  the  negatives.  When  the 
negative  is  dry,  examine  it  to  see  if  there  are  any 
pin-holes  ;  if  so,  stop  them  out  with  a  little  burnt 
sienna,  using  for  this  purpose  a  very  small 
brush.  The  mode  of  taking  a  transparency  is 
almost  exactly  the  same  as  the  instructions 
given  for  the  negative.  The  plain  glass  in  the 
printing -frame  will  not  in  this  case  be  required, 
and  the  exposure  will  be  shorter;  one  second 
with  a  good  light  will  be  ample.  Proceed  to 
develop  and  fix  as  before,  and  when  dry  get  out 
the  covering  glasses,  select  one  that  has  no  flaws 
or  specks,  place  the  plain  glass  on  the  film  side 
of  the  picture ;  it  is  now  ready  for  binding. 
This  binding  business  is  rather  troublesome  at 
first,  but  the  knack  is  soon  learned.  Take  out 
a  strip  which  is  about  long  enough  to  go  right 
round  the  glasses ;  being  already  gummed,  it 
merely  requires  moistening  with  water  by  means 
of  a  brush.  Take  your  slide,  which  should  have 
between  the  glasses  one  of  the  lantern  mounts, 
circular  or  otherwise,  according  to  the  picture 
produced,  and  commence  to  bind  the  edges  of 
the  slide  together ;  a  slight  cut  should  be  taken 
at  the  corners,  so  that  the  paper  lies  flat  and 
even  all  round.  It  is  rather  difficult  to  describe 
the  binding  on  of  the  strip?,  but  the  beginner 
will  very  soon  get  used  to  it  with  a  little  practice. 


THE  ELECTRIC  BELL. 


399 


The  writer  finds  it  to  be  a  good  plan  to  devote 
an  evening  to  negatives,  and  the  next  to  trans- 
parencies, and  so  on  ;  the  work  can  then  be  kept 
well  in  hand.  I  have  said  nothing  about  the 
colouring  of  the  slides,  as  a  far  abler  pen  than 
mine  has  written  on  the  subject.  (See  Amateur 
Work,  Vol.  I.,  New  Series.) 

I  may  add  that  if  any  reader  would  like  to 
obtain  a  specimen  slide,  I  will  send  one  post 
free  to  any  address  on  receipt  of  six  stamps. 
(The  Editor  has  my  address.) 


THE   ELECTRIC    BELL: 

AND    HOW    TO     CONSTRUCT     IT. 
By  JNO.    U.  MILNE. 


II. — Action  of  Electric  Bell  explained— Trembling 
Bell  —  Wooden  Base  —  Fitting  Fkame  —  Box- 
Tables  I.  to  VI. 

HE  fitting  can  now  be  proceeded  with 

and  completed.     The  coils  have  been 

placed  in  position,  and  the  armature 

screwed  to  the  frame ;  it  now  remains  to  fix  the 

contact  post  in  position.     This  post  is  intended 

to  be  screwed  in  the  hole  at  d,  Fig.  2  and  Fig.  4  ; 

but  the  bell  will  not  act  unless  this  part  be 

insulated.     In  order  to  make  this  clear,  a  short 

explanation  of  the  action  of  the  electric  bell  may 

here  be  acceptable  to  the  reader. 

If  a  current  of  electricity  be  sent  through  an 
insulated  wire,  wrapped  round  an  iron  core,  the 
latter  instantly  becomes  a  magnet,  and  remains 
so  until  the  current  is  broken.  It  will  in  this 
magnetic  state  attract  iron  particles  to  itself, 
and  behave  in  every  respect  as  an  ordinary 
horseshoe  magnet.  If  the  current  is  broken, 
the  magnet  loses  its  magnetic  properties,  and 
ceases  to  attract  or  affect  the  iron  particles. 

The  reader  can  very  readily  put  the  foregoing 
to  the  test.  Connect  one  end  of  such  a  coil  with 
one  pole  of  an  electric  battery,  leaving  the  other 
end  of  the  coil  and  the  battery  disconnected. 
Hold  the  magnet  over  a  number  of  iron  filings, 
or  a  small  piece  of  iron.  There  will  be  no 
result  till  the  disconnected  pole  of  the  battery  is 
joined  to  the  free  end  of  the  coil,  when  the 
filings  or  iron  will  be  immediately  attracted, 
and  fly  to  the  magnet.     If  the  wire  be  again 


disconnected,  the  filings  or  iron  immediately 
drop.  This  simply  depends  on  the  "  make  and 
break  "  principle. 

Now,  if  the  current  entered  by  one  coil  of  the 
bell,  and  passed  away  to  the  battery  again  from 
the  other,  and  if  the  battery  and  coil  were 
repeatedly  connected  and  disconnected  at  every 
contact,  an  armature  being  substituted  for  the 
filings,  the  armature  would  be  pulled  down,  and 
at  every  disconnection  spring  back.  This  is  the 
principle  of  the  "  single  stroke  "  bell ;  but  as  the 
trembling  bell  must  be  capable  of  rapid  vibra- 
tion, the  "  make  and  break  "  must  be  performed 
otherwise  than  by  the  finger.  To  obtain  this 
result,  one  end  of  the  coil  is  connected  with  the 
+  or  positive  pole  of  the  battery  ;  the  other  is 
carried  to  the  contact  post.  A  wire  then  passes 
from  the  spring  of  the  armature  to  the  —  or 
negative  pole  of  the  battery.  The  action  is  that 
the  current  passes  through  the  terminal  of  the 
bell,  coils  in  order,  contact  post,  platinum  contact 
spring,  armature,  and  to  the  terminal  of  the 
battery.  The  cores  now  become  magnets,  as 
before  explained,  attract  and  pull  down  the 
armature,  the  hammer  striking  the  bell.  The 
connection,  however,  between  the  platinum- 
tipped  screw  of  the  contact  post  and  the  spring 
of  the  armature  being  thus  severed,  the  current 
is  cut  off,  the  cores  cease  to  be  magnets,  and  the 
armature  consequently  falling  back,  again  makes 
contact  with  the  screw  of  the  contact  post,  puts 
the  current  in  circuit,  the  cores  again  become 
magnets,  and  the  armature  is  pulled  down.  In 
fact,  the  electric  bell  is  a  "  current  breaker," 
without  the  bell  hammer. 

This  action,  carried  on  in  an  exceedingly  rapid 
manner,  gives  rise  to  the  name  of  this  bell — 
"  trembling  "  or  "  vibrating." 

It  will  now  be  very  easily  seen  why  the  con- 
tact post  must  be  insulated.  If  this  were  not 
done,  the  current  would  be  "  short-circuited," 
and  find  the  shortest  passage  to  the  battery 
again,  by  passing  through  the  coils  and  out  at 
the  other  end  along  the  frame,  and  from  it  to 
the  battery,  avoiding  the  contact  post,  and 
causing  the  magnets  to  attract  the  armature, 
and  hold  it  down,  until  the  operator  himself 
breaks  the  circuit,  or  the  battery  fails. 

The  contact  post  is  usually  insulated  from  the 


400 


THE  ELECTRIC  BELL. 


metal  frame  by  a  small  bobbin  of  wood  shaped 
as  in  Fig.  5.  The  part  A  is  inserted  in  the  hole 
of  the  frame  where  the  contact  post  is  fitted, 
thus  preventing  contact  between  the  contact  post 
and  the  frame,  while  the  washer,  b,  lies  between 
the  screw  and  the  frame,  c,  thus  preserving 
insulation. 

A  circle  of  cardboard  dipped  in  paraffin  wax, 
or  a  piece  of  bone,  for  a  top  washer,  will  do  very 
well,  with  a  part  of  a  quill  inserted  in  the  hole  in 
the  frame,  and  a  similar  circle  of  cardboard,  or, 
better,  bone,  for  the  under  washer,  or  any 
similar  contrivance  to  preserve  insulation  can 
be  used. 

The  wooden  base  should  now  be  made ;  it  is 
shaped  as  in  Fig.  6,  wood  of  \  inch  being  used. 
A  particular  description  will  be  found  in  a 
former  article.  The  position  the  frame  will 
have  is  shown  in  the  figure. 

The  frame  is  now  screwed  to  the  base  board 
by  the  holes  marked  o,  Fig.  4,  drilled  in  the 
flat  part  between  the  contact  post  and  the  cross 
piece,  to  which  the  magnets  are  attached.  The 
bell  and  other  parts  are  fixed  in  position,  as 
formerly  described,  and  also  fully  shown  in 
Fig.  4.  As  we  have  explained  the  construction  of 
the  usual  "  frame  "  and  other  parts  of  the  bell, 
it  would  be  well  to  give  the  method  referred  to 
before,  followed  by  the  writer  for  making  the 
framework. 

Obtain  a  strip  of  flat  iron,  ^5  or  \  inch  thick 
and  \  inch  broad,  and  work  it  into  the  shape 
of  Fig.  7,  either  on  the  anvil  in  one  piece,  or 
in  separate  pieces,  by  soldering,  or  by  drilling 
and  screwing  them  together. 

Fig.  7  shows  how  the  frame  is  fitted  up. 
The  magnets  fit  in  the  square,  so  as  to  be  as 
compact  as  possible.  They  are  screwed  to  the 
frame  at  the  points  a  a  ;  the  angle,  b,  is  drilled, 
tapped,  and  fitted  with  the  adjusting  screw, 
tipped  with  platinum. 

The  iron  at  the  angle,  c,  is  also  drilled 
and  tapped  for  a  screw,  so  as  to  hold  the 
armature  in  position,  but  insulated  from  the 
frame.  This  can  be  done  by  inserting  a  thin 
piece  of  wood  or  cardboard,  d,  between 
the  frame,  c,  and  the  armature  spring,  taking 
care  that  the  screw  attaching  the  two  does  not 
form  a  connection  with  the  frame.     The  black 


line,  f  under  c,  shows  a  strip  insulating  the 
bottom  of  the  nut,  e,  underneath  the  frame,  from 
contact  with  it.  The  body  of  the  screw  can  be 
insulated  by  a  piece  of  bone  or  quill  being  in- 
serted in  the  hole  in  the  frame  at  c.  The  knees, 
a  G,  are  then  affixed  to  the  frame,  for  the  pur- 
pose of  holding  it  to  the  woodwork. 

At  the  point  h,  in  Figs.  7,  7a,  and  8,  the  hammer 
lever  must  pass  through  the  frame.  For  this 
purpose  a  slit,  1,  must  be  made  long  enough  to 
allow  the  lever  full  play  when  the  bell  is  in 
action.  The  reader  can  easily  make  this 
aperture,  either  by  boring  two  holes  with  a  drill, 
and  then  sawing  out  the  intervening  metal  with 
a  fret-saw,  or  by  cutting  out  the  piece  by  means 
of  a  metal  chisel,  and  afterwards  trimming  up 
with  a  file. 

The  hammer  lever  can  be  made  to  screw  into 
the  armature  so  that  the  fitting  or  disconnection 
of  the  two  parts  can  at  any  time  be  easily 
accomplished. 

Fig.  8  shows  another  mode  of  adjustment  in 
which  an  ordinary  contact  terminal,  a,  is  fixed 
to  the  frame ;  of  course  being  entirely  insulated 
from  the  frame,  as  in  the  former  plan,  the  black 
lines,  b  and  c,  showing  the  insulating  medium. 
The  arm  0  (Fig.  4)  can  also  be  attached  to  this 
or  the  above. 

The  reader  should  construct  a  wooden  pattern 
of  the  frame  to  guide  him,  as  before  recom- 
mended, also  remembering  to  thoroughly  anneal 
the  iron  of  which  he  makes  his  frame  and 
armature.  Having  forged  the  frame,  he  can 
file  up  the  edges,  and  coat  the  body  with  Bruns- 
wick black,  for  appearance  sake.  If  purchased, 
the  cost  of  the  metal  frame  for  a  1\  inch  bell 
would  be  something  like  Is.;  slightly  more  for 
larger  size.  A  very  good  form  of  bell  pillar  for 
supperting  the  bell  is  given  in  Fig.  9,  marked 
p  in  Fig.  4. 

The  direction  of  the  current,  as  shown  by 
Fig.  4,  is  by  m,  the  terminal  of  the  +  pole  of 
the  battery,  through  the  coils,  to  contact  pillar, 
out  by  armature,  spring,  and  terminal  attached 
to  the  —  pole  of  the  battery.  It  only  now 
remains  to  make  a  square  box  to  put  over  the 
frame,  which  is  affixed  to  the  base,  to  protect 
the  parts  from  dust.  It  is  attached  to  the  base 
either  by  a  couple  of  screws  inserted  from  the 


THE  ELECTRIC  BELL. 


401 


CD 


Fl  C    6 


H 


Q 


I  C.8. 


E 

f       m 


FIC.5 


CD 


^~T1 


^ran 


0 


FIG  7A 


Fl  G.7 


FIG    10 


DESCRIPTION     OF     ILLUSTRATIONS. 


FtG.  S-— SHOWING  INSULATING  MEDIUM  AND  TERMINAL  INSULATED  ;  A,  SHOULDER  INSULATING  TERMINAL  FROM  IRON 
FRAME  C  ;  E,  PLATE  INSULATING  HEAD  OF  SCREW  FROM  C  ;  C,  IRON  FRAME.  FIG.  6. — BASE  BOARD  ;  A,  BASF. 
BOARD;  B,  EDGES  OF  BOX  COVERING  BELL;  THE  OTHER  PARTS  CORRESPOND  TO  FIG.  4.  FIG.  7.— ANOTHER  FORM 
OF  FRAME  (SIDE  VIEW)  ;  A,  MAGNETS  ;  B,  POSITION  FOR  ADJUSTING  SCREW  ;  C,  ANGLE  SUPPORTING  ARMATURE 
SPRING  ;  D,  INSULATING  MEDIUM  ;  E,  SCREW  INSULATED  FROM  C  BY  INSULATING  MEDIUM  SHOWN  BY  DARK  LINES 
THROUGH  C  ;  F,  INSULATOR  PREVENTING  CONTACT  BETWEEN  NUT  OF  SCREW  E  AND  C  ;  G,  KNEES  FOR  FASTENING 
FRAME;  H,  HAMMER  LEVER  ;  I,  APERTURE  FOR  LEVER  TO  WORK  IN.  FIG.  7A.— FRONT  VIEW  ]  H,  HAMMER  LEVER  ; 
I,  APERTURE  FOR  SAME.  FIG.  8.— SAME  FRAME  AS  FIG.  5,  BUT  MANNER  OF  INSULATION  DIFFERENT  ;  A,  CONTACT 
TERMINAL  ;  B  AND  C,  INSULATING  MEDIUM  ;  D,  SCREW  HEAD  ATTACHING  A  ;  E,  ARMATURE  SCREW  ;  F,  ARMATURE 
SPRING  ;  G,  KNEES  ;  H,  HAMMER  LEVER  ;  I,  APERTURE.  FIG.  9. — BELL  PILLAR,  MARKED  P  IN  FIG.  4  ;  A,  SPACE 
OCCOPIED  BY  BELL  ;  B,  SPACE  OCCUPIED  BY  FRAME  ;  C,  NUT  MARKED  2  IN  FIG.  4.  FIG.  IO.  —  FORM  OF  BELL  WHEN 
FINISHED. 


402 


THE  ELECTRIC  BELL. 


under  side  of  the  base,  or  by  small  eyelet  boles 
in  the  base  and  books  in  tbe  box. 

Before  concluding,  it  would  be  well  to  draw 
tbe  reader's  attention  to  tbe  method  of  regu- 
lating the  bell  formerly  described.  The  hammer 
bead,  when  pressed  against  the  bell,  should  just 
admit  of  a  sufficient  space  between  the  magnets 
and  the  armature  to  insert  a  thin  piece  of 
cardboard. 

The  reader  should  press  the  armature  spring 
toward  the  magnet  with,  say,  a  pencil  or  pen- 
holder, at  h  (Fig.  4),  between  the  frame  and 
the  armature.  If  the  bell  rings  more  loudly, 
then  the  spring  is  too  stiff,  or  has .  a  too  strong 
backward  pressure.  On  the  other  hand,  if  he 
presses  on  the  other  side  of  the  spring  (the 
magnet  side),  and  away  from  the  magnet,  if  the 
bell  rings  better  while  exerting  this  outward 
pressure,  then  the  spring  is  too  weak,  and  must 
be  regulated  accordingly.  By  slightly  bending 
the  armature  spring,  and  adjusting  the  screw 
of  the  contact  post,  the  reader  will  easily  arrive 
at  the  best  working  power  of  the  bell. 

Fig.  10  shows  form  of  bell  fitted  with  box 
complete. 

The  writer  has,  with  the  object  of  assisting 
the  reader,  appended  tbe  following 
tables,  of  which  the  several  authors 
and  publishers  readily  granted  him 
the  use;  it  is  hoped  they  will  be 
found   to    comprise  all  that  will  be 


requisite  as  to  calculations,  proportions,  etc.,  for 
obtaining  the  best  results  in  bell  construction. 

Table  I.  is  from  the  interesting  and  valuable 
work  entitled  "Workshop  Keceipts,"  by  Mr. 
Lock,  and  published  by  Messrs.  E.  and  F.  W. 
Spon.  This  table  treats  of  tbe  dimensions  of 
horseshoe  magnets  up  to  4  inches.  Tbe  book 
will  be  found  a  great  acquisition  to  the  library 
of  the  amateur  mechanic,  containing  as  it  does 
a  vast  amount  of  valuable  information,  tbe 
price  being  at  the  same  time  moderate. 

Table  IT.  is  from  Mr.  Bottone's  attractive  and 
cheap  book  on  "Electric  Bells,"  lately  pub- 
lished, which  contains  full  and  clear  information 
on  this  subject,  written  in  a  style  pleasing  to 
amateurs,  and  very  well  adapted  to  meet  the  par- 
ticular difficulties  they  are  likely  to  encounter. 

Table  III.  has  been  inserted  by  tbe  kind 
permission  of  the  publishers  of  the  Mechanical 
World,  and  forms  a  part  of  a  series  of  able 
articles  on  this  subject. 

Table  IV.  contains  information  supplied  to  the 
writer,  at  his  request,  by  one  of  the  best  firms 
of  electrical  engineers  in  England,  who  also 
supplied  him  with  the  information  contained  in 
Table  V.,  which  gives  list  of  prices  adapted  to 
Table  IV. 

Table  VI.  has  been  supplied  to  tbe 
writer  at  his  request,  and  will,  no 
doubt,  be  very  acceptable  informa- 
tion to  the  reader. 


TABLE    I. 
Measurement  of  Magnets  and  Bobbins. 


MAGNETS. 

BOBBINS. 

No. 

Diameter  of  Bell. 

Diameter  of  Core. 

Space  between 
holes,  d  to  e. 

Length  of  Core. 
a  to  b. 

Diameter. 

Length. 

No.  of  Layers. 

inches. 

inches. 

inches. 

inches. 

inches. 

inches. 

1 

2 

1 

I 

u 

1 

n 

I) 

o 

23 

A 

1 

11 

3 
4" 

ii 

8 

3 

4 

7 

J 

H 

1 

if 

10 

The  gauge  suggested  by  this  author  is  No.  28,  B.W.G.,  on  each  ;  it  is  also  suggested  that  brass  should  be  used  for  the 
ends  or  flanges  of  the  bobbins.  These  bobbins  are  made  by  bending  thin  sheet  copper  round  the  part  a  b  of  the  magnet ; 
the  edges  must  not  quite  meet.  The  thickness  of  this  copper  must  be  such  that  four  pieces  just  equal  in  thickness  the 
edge  of  a  new  threepenny  piece  (this,  he  says,  is  rather  an  original  gauge,  but  then  all  can  get  at  the  tbickness  this  way). 
The  hole  in  the  brass  ends  must  be  just  large  enough  to  push  on  firmly  over  the  copper  when  on  the  iron;  they  must 
then  be  set  true  and  soldered  on.     The  brass  for  the  ends  may  be  about  as  thick  as  a  sixpence. 


THE  ELECTRIC  BELL. 


406 


TABLE    II. 

Showing  proportions  to  be  observed  in  the  different  parts 
of  electric  bells. 


Diameter 

Length  of 

Diameter 

Length 

Diameter 

B.W.G   of 

ef  Bell. 

Magnet 

of  Ma  a  net 

of 

of  Bobbin 

Wire  on 

Cores. 

Cores. 

Bobbin , 

Head. 

Bobbin. 

inches. 

inches. 

incbes. 

incbes. 

inches. 

2i 

2 

A 

if 

§ 

24 

3 

2J 

a 

2 

j 

24 

3} 

34 

A 

n 

i 

22 

4 

2} 

i 

24 

H 

22 

■& 

3 

A 

24 

n 

20 

5 

H 

1 

3 

n 

18 

5J 

u 

H 

H 

14 

16 

6 

3f 

a 

34 

i* 

16 

H 

4 

tt 

3J 

if 

16 

7 

H 

t 

4 

i* 

16 

H 

H 

H 

4i 

2 

14 

8 

4J 

l 

4J 

2J 

14 

8J 

5 

1A 

4$ 

H 

14 

9 

33 

H 

a 

2a 

14 

n 

54 

*A 

•r'i 

24 

14 

10 

51 

n 

54 

os 

14 

104 

6 

ift 

H 

2} 

12 

n 

6i 

ii 

6 

2J 

12 

nj 

6* 

i& 

«i 

3 

10 

12 

6| 

14 

6$ 

3| 

10 

TABLE     III. 

Showing  dimensions  of   cores,  bobbins,  with   the   addition 

of  measurements   of    armatures,  and   quantities   of   wire 

on  bobhins. 


Cork. 

Diam.  '  Size  of 

Armatures. 

of      |    bilk 

No.  of 

Bobbin 

Cover  U 

Layers. 

Lgtb. 

Diam. 

Finish. 

Wire. 

L'gth.  Bre'dth 

Thick. 

in. 

in. 

in. 

B.W.G. 

in.           in. 

in. 

2 

A 

i 

24 

14        5 

8 

4 

24 

a 

b 

* 

24 

ii       A 

i 

4 

3 

— 

H 

22 

2         4 

1 

4 

H 

i 

2 

A 

20 

■-'i        S 

I 

4 

4 

Ii 
8 

li 

18 

24       i 

A 

5 

Note. — The  dimensions  of  wire  on  bobbins  will  be 
smaller  for  long  distances,  the  above  being  for  ordinary 
work. 


TABLE     IV. 

Containing    measurements   of    bells   manufactured    by   a 

leading   English  firm  of  electrical  engineers,  followed  by 

Table  V.,  being  price  list  adapted  to  same. 


Diam. 

of 
Bell. 


24 
3 

34 
4 

44 
5 

54 
6 


L'gth.  of 
M  agnet 

Diam.  of 
Magnet 

L'gth.  of 
Bobbin. 

Diam. 
of 

Gauge 
of 

No.  of 

Cores. 

Coies. 

Bobbins. 

Wire, 

in. 

in. 

in. 

in. 

1A 

A 

Ii 

s 

26 

If 

n 

J 

15 

H 

« 

26 

24 

93 

if 

1 

26 

34 

— 

26 

34 

2f 

4 

2A 

1* 

24 

54 

— 

24 



H 

f 

3 

14 

24  or  22 

15 

— 

21  or  22 

TABLE    V. 


a 

c  *- 

pcS 

Inch 
Bell. 

-0? 

•o  5 

a  2 

or.  CO 

">A 

a 

3 

s.  d. 

s.  a. 

24 

1     0 

0     8 

3 

1     3 

0  10 

34 

1     9 

1     2 

4 

1     9 

1     2 

44 

3    9 

2     0 

.5 

3     9 

2    0 

5J 

4     6 

3     2 

6 

4     6 

i 

3    2 

Q)    CD 


ote 


a 


l-S-o 

e.2 

it  3  5 

§1 


s. 

a. 

0 

2 

0 

3 

0 

4 

0 

4 

0 

5 

0 

5 

0 

6 

0 

6 

s.    d.  s. 

0    9  1 

0  10  1     0 

1  0J  1     4 
1     0  1 

4!  1 

4  1 

21  2 


2  2    6 


S3    . 

o 


s.  a 

0  6 

0  7 

0  8 

1  0 
1  4 
1  9 


ST) 


m 


s.  a. 
0    8 

0  10 

1  2 

1  8 

2  10 

3  7 

4  3 

5  3 


Lacquered  brass  same  price  as  nickeled. 


TABLE    VI. 

Silk  and  cotton-covered  wires,  containing  98  per  cent,  of  conductivity. 


Birmingham  Wire  Gauge ... 

12 

14 

16     18 

20 

22 

24 

26 

28 

30     32 

34 

36 

38 

40 

Diameter      

109 

080  -065  043 

036 

•029 

•025 

019 

•016 

■014   013 

•010 

•0079 

•0067 

•0058 

Green,  silk-covered        per  lb.     ... 

f.  a. 
3    8 

b.  a. 
3    8 

s.  a.  p.  a. 
3    8  4    0 

s.     d. 

4     6 

s.  a. 

5    0 

6.    d. 
5    0 

«.  a. 
5    6 

s.  a. 
7    0 

s.  a.  s.  a. 
8    69    0 

8.     d. 
10    0 

s.     d. 
14     0 

s.     d. 
18    0 

s.     d. 
25    0 

Cotton-covered                     „ 

2    4 

2    4 

2    42    4 

2    8 

3    0 

3    4 

3    8 

4    0 

4    85    4 

6     (i 

9    6 

— 

No.    of     yards    per     lb.     weight 
uncovered            

11 

17 

27     46 

70 

123 

176 

280 

433 

566  918 

1231 

1733 

2600 

3433 

404 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


HOW    TO    MAKE-UP    FOR 
THE    STAGE. 

By  PROFESSOR  LIONEL  ARTHUR. 

XII.— Removing  the  Make-up  from  the  Face  :  The 
Right  Way  and  the  Wrong — Lead  Poisoning 
caused  through  impure  grease  paints — the  best 
Way  of  Removing  the  Make-up  effectually  and 
quickly — Washing  in  Warm  and  Cold  Water — 
Removing  Paint  and  Powder  from  the  Hair — 
Open  Wounds  on  the  Face-  and  their  Cure- 
Reliable  Theatrical  Toilet  Preparation  s  for 
the  Skin,  Teeth,  Eyes,  and  Hair. 

3AVING  applied  various  substances  to 
the  face  in  the  process  of  making 
it  up,  the  time  must,  of  course, 
arrive  when  it  is  necessary  to  remove  it, 
and  to  cleanse  the  skin  thoroughly  from  all 
impurities.  Now,  it  requires  just  as  much  care, 
or  more,  to  remove  the  make-up  as  it  does  to 
apply  it ;  and  even  in  this  presumably  simple 
matter,  there  is  the  right  and  the  wrong  way 
of  going  about  the  work.  The  inexperienced 
and  excitable  amateur  will,  as  soon  as  his  per- 
formance is  finished,  probably  rush  to  a  basin 
of  warm  water,  and  by  the  aid  of  a  good  supply 
of  soap  proceed  to  wash  himself,  and,  as  he 
thinks,  remove  all  traces  of  the  make-up.  But 
this  he  does  not  do  ;  for,  in  the  first  place,  the 
warm  water,  opening  the  pores  of  the  skin,  allows 
any  impurities  or  poisonous  matter  which  any 
of  the  make-up  materials  may  contain  (for  they 
are  not  always  harmless),  to  enter  the  skin,  and 
eventually  to  get  into  the  blood,  with  the 
result  ■ —  blood-poisoning  and  unsightly  erup- 
tions, which  are  sure  to  come  out  sooner  or 
later.  Again,  soap  and  water  will  not  effectually 
remove  a  make-up  at  a  single  washing,  no 
matter  how  hard  one  may  rub  the  face  with  the 
hands  or  towel ;  and  as  to  spirit-gum,  it  will  not 
remove  it  at  all ;  on  the  other  hand,  it  will  leave 
a  most  uncomfortable  feeling  behind.  Constant 
carelessness  in  removing  the  make-up  from  the 
face  ends  in  but  one  result  beyond  blood- 
poisoning — that  is,  a  yellow  and  dirty  skin.  To 
the  amateur  who  only  makes-up  occasionally, 
this  latter  defect  is  not  likely  to  occur;  but  the 
skin  of  a  good  many  professionals,  especially 
ladies,  has  become  so  bad  that  they  have  to  be 
constantly  made-up — off  the  stage  as  well  as  on. 


Here  I  may  say  that  a  good  many  actors  have 
suffered  from  lead-poisoning  since  the  intro- 
duction of  grease  paints,  but  I  believe  an 
improvement  in  the  manufacture  of  these 
articles  has  now  been  made  by  the  best 
makers  ;  but  I  should  still  hesitate  to  say  they 
were  perfectly  harmless  without  an  analysis. 
In  1886,  some  sticks  of  grease  paints  were 
handed  to  an  analytical  chemist  in  New  York 
for  examination,  the  said  sticks  having  been 
purchased  from  the  different  theatrical  dealers 
in  that  towD .  The  result  of  the  analysis  tended 
to  show  that  lead  was  a  common  ingredient  in 
these  paints,  and  in  such  quantities  as  to 
produce  most  poisonous  effects  when  frequently 
applied.  The  lead  was  used  both  as  a  basis 
and  as  a  colouring  substance.  The  chemist  also 
stated  that  it  was  not  uncommon  to  find  lead  in 
toilet  preparations,  and  that  in  cases  of  chronic 
lead-poisoning,  the  absorption  of  the  lead  took 
place  solely  through  the  skin.  Mixed  with 
grease,  the  poisonous  properties  of  the  lead  are 
increased.  Besides  lead,  mercury  in  the  form 
of  calomel,  bisniuthinthe  form  of  tris-nitrate,  and 
zinc  as  oxide,  are,  or  were,  used  as  whitening 
powders  ;  their  employment,  however,  is  objec- 
tionable, and  should  be  discontinued,  especially 
as  less  harmful  substances  are  within  the  reach 
of  the  manufacturer.  Without  some  white  sub- 
stance as  a  basis,  the  grease  paint  would  be 
worthless  ;  but  there  are  many  other  substances 
which  could  be  employed  besides  white  and  red 
lead,  and  I  should  hope  these  are  not  now  used, 
even  in  New  York.  Bismuth  is  objectionable  from 
the  fact  that  it  turns  the  skin  dark,  while  the 
same  is  true  of  calomel.  The  medicinal  qualities 
of  zinc  are  its  rapid  drying  of  the  skin,  hence  its 
use  in  amputation  and  other  surgical  cases ; 
yet,  in  spite  of  this  fact,  its  continued  application 
is  poisonous. 

I  have  placed  this  information  before  my 
readers  not  because  I  wish  to  frighten  them 
away  from  these  articles,  but  merely  to  put 
them  on  their  guard ;  so  that  if  they  should  at 
any  time  suspect  any  ill-effects,  they  may  know 
in  what  direction  to  look  for  the  probable  cause. 
I  can,  finally,  only  repeat  that  I  believe  grease 
paints  to  be  now  tolerably  pure,  except  such 
colours  as  yellow  and  orange  chrome,  etc. 


HOW  TO  MAKE-UP  FOR    THE  STAGE. 


405 


Keverting  to  the  make-up  and  its  removal, 
the  paints  and  powders,  as  before  pointed  out, 
are  frequently  rubbed  into  the  pores  of  the  skin 
without  thought,  and  frequently  only  half- 
washed  out  after  the  performance,  the  face 
being  more  thoroughly  cleansed  when  the  home 
of  the  actor  is  reached.  This,  of  course,  is  a 
grave  mistake,  for  even  if  the  paint  had  no 
other  ill  effect,  the  continual  closing  up  of  the 
pores  of  the  face  is  in  itself  an  unhealthy 
practice.  The  great  point,  then,  is  to  remove 
the  make-up  thoroughly  and  effectually  imme- 
diately after  the  performance :  and  I  will 
now  endeavour  to  show  the  best  way  in  which 
this  may  be  done. 

A  make-up  is  easily  removed  by  applying  an 
emollient  to  the  skin,  vaseline  or  cocoa  butter 
being  those  generally  used  ;  of  the  two,  I  prefer 
the  vaseline.  The  wig  must,  however,  be  first 
removed  by  holding  it  in  the  same  way  as  in 
putting  it  on,  and  pulling  it  upwards,  and 
towards  the  forehead.  The  moustache,  whiskers, 
and  beard  are  also  carefully  peeled  away  from 
the  skin.  If  made-up  eyebrows  are  worn,  they 
can  be  removed  in  the  same  way ;  but  if  they 
have  been  made  up  with  crepe  hair,  they  are 
best  left  on  till  they  come  away  of  themselves 
in  the  nest  stage  of  cleansing  the  face.  This 
ia  quickly  done  by  well  smearing  it  with  the 
vaseline  or  cocoa  butter,  and  rubbing  the  face 
gently  until  all  the  paint  has  been  loosened ; 
this  can  be  tested  by  wiping  the  face  with  the 
finger,  when,  if  the  removal  is  perfect,  the  skin 
will  show  through.  "When  the  paint  is  thus 
thoroughly  free,  and  not  before,  take  a  clean  dry 
towel,  and  remove  both  grease  and  paint  by 
wiping  the  face  gently  but  firmly  ;  this  opera- 
tion must  be  repeated  if  necessary,  for  which 
purpose  more  vaseline  must,  of  course,  be 
applied.  All  the  paint,  the  spirit-gum,  and 
with  it  the  false  eyebrows,  will  thus  be  taken 
away,  and  the  skin  left  soft  and  pliable.  But 
the  pores  of  the  skin  are  still  closed  up  ;  we 
therefore  require  a  basin  of  clean  hot  water  and 
a  cake  of  Vinolia  soap  ;  this  soap  is  the  purest 
and  very  beat.  The  artiste  now  gives  himself  a 
thorough  good  wash,  using  one  of  the  ordinary 
washing  gloves  for  the  face.  Having  rinsed 
himself   in    the   warm   water,    he   throws   that 


away,  and  has  a  final  good  rinse  in  cold  water,  and 
then  a  wipe  dry  with  a  soft  towel,  finishing  off 
with  a  slight  dusting  of  vinolia  powder,  the 
soothing  effects  of  which,  upon  an  irritated 
skin,  are  remarkable.  These  operations,  if 
properly  carried  out,  should,  when  completed, 
restore  the  skin  of  the  face  to  its  normal 
condition,  and  send  the  artiste  home  in  a  most 
happy  and  comfortable  frame  of  mind.  How 
different  to  thia  is  the  smarting,  irritated  skin  of 
the  man  in  a  hurry  who  has  removed  his  make- 
up in  the  best  way  he  can,  and  perhaps,  after 
all,  left  the  best  portion  of  it  upon  his  face,  and 
discovers  it  there  on  waking  in  the  morning. 
So  much  for  the  removal  of  the  make-up. 
Grease  paint  which  has  got  into  the  hair,  can 
also  be  removed  by  the  application  of  vaseline, 
and  powder  may  bo  taken  out  by  brushing  it 
lightly.  Should  the  face  get  scratched,  cut  by 
the  razor  whilst  shaving,  or  any  eruptions  or 
sores  appear  thereon,  I  know  of  nothing  which 
will  heal  so  quickly  as  Vinolia  cream,  and  this 
should  be  applied  at  once,  as  it  is  unsafe  to 
apply  a  make-up  in  the  vicinity  of  any  open 
surface.  Vinolia  applied  to  a  razor  cut,  for 
instance,  in  the  morning  will  have  effectually 
closed  it  by  the  evening,  and  thus  rendered  the 
process  of  making-up  perfectly  safe. 

Beyond  the  art  of  making-up,  the  actor  and 
the  actress  can  add  much  to  their  personal 
appearance  and  charms  by  religiously  attending 
to  the  hygiene  of  the  body,  and  particularly  to 
the  face,  hair,  eyes,  and  teeth.  Now,  there  are 
toilet  preparations  by  the  score  for  adding  to  the 
beauty  of  all  these — some  good,  some  indifferent, 
and  a  good  many  very  bad.  There  are  certain 
toilet  articles  in  great  favour  with  actresses,  and 
which  have,  in  some  cases,  a  purely  theatrical 
sale ;  and  those  which  I  know  to  be  of  value, 
and  not  only  harmless  but  beneficial  in  use,  I 
will  now  mention  for  the  benefit  of  those 
readers  who  would  like  to  know  of  a  few  pre- 
parations which  are  really  good  and  safe  to 
use.  Nothing  adds  to  one's  appearance  more 
than  well  shaped,  sound  teeth  of  a  pearly 
whiteness,  and  set  in  ruby  red  gums.  There 
are  a  good  many  preparations,  however,  in  the 
market  which  do  the  teeth  and  gums  more  harm 
than   good.     As   regards   a   good  dentifrice,  I 


406 


HOW  TO  MAKE-UP  FOR   THE   STAGE. 


cannot  recommend  powders  or,  in  fact,  any- 
thing -which  is  at  all  gritty,  however  slight ;  for 
these  soon  wear  away  the  enamel.  The  great 
thing  in  a  dentifrice  is  to  cleanse  and  purify  the 
teeth,  and  keep  the  gums  sound  and  healthy, 
and  consequently  of  a  good  colour.  Quinine  is 
frequently  used  for  this  purpose,  and  can  be  well 
recommended.  The  two  best  ready  prepared 
dentifrices  which  I  know  of  are  "  Eau  de 
Suez"  and  Guerlain's  "  Alcoolat  de  Cresson,  de 
Cochlearia."  These  are  both  prepared  in  Paris  ; 
but  whilst  the  former  can  be  had  in  England  of 
any  large  chemist  at  3s.  6d.  per  bottle,  the  latter 
can  only  be  had  from  the  actual  maker,  the 
leading  and  oldest  perfumer  in  Paris,  viz., 
M.  Guerlain,  Parfumeur,  15,  Rue  de  la  Paix, 
Paris ;  the  price  is  3  francs  per  flagon  at  Paris, 
carriage  and  duty  extra.  These  articles  are 
wonderful  preparations,  and  I  can  confidently 
recommend  them  to  anyone  for  trial.  For 
promoting  the  growth  of  the  hair,  I  advise  the 
use  of  Guerlain's  "  Eau  de  Quinine " ;  and 
another  good  preparation  of  the  same  maker's 
is  the  "  Stilboide  Cristallise,"  for  adding  a  charm- 
ing lustre  to  the  hair.  For  adding  brilliancy 
and  charm  to  the  eyes,  nothing  equals  Guerlain's 
"  Pyrommee,"  now  used  by  all  the  leading 
Parisian  beauties.  For  the  eyebrows,  and  for 
veining,  use  Guerlain's  "  Henne  du  Sennaar  "  ; 
and  for  rendering  the  skin  soft  and  pliable,  his 
"  Creme  de  Fraises,"  which  has  a  delicious 
scent.  Guerlain  also  produces  a  sweetly  scented 
powder,  unequalled  by  anything  I  have  ever 
seen  used  in  England,  which  he  has  named 
'•  Poudre  de  Cypris."  But,  perhaps,  Guerlain 
is  noted  mostly  for  his  really  grand  spermacetti 
toilet  soaps,  and  his  double  Eau  de  Cologne 
scents.  His  scent,  "  Imperiale  Eusse,"  has  no 
compeer,  and  has  an  enormous  sale.  The  soap 
is  scented  with  all  his  well-known  perfumes,  but 
one  of  the  greatest  favourites  is  that  perfumed 
with  his  "  Marechale  Duchesse,"  and  selling  at 
3  francs  per  cake.  I  always  use  this,  and  it 
scents  the  room  it  is  in  until  every  atom  is  used 
up.  Speaking  of  scents,  the  favourite  stage  per- 
fume of  to-day  is  the  "  Crab  Apple  Blossoms" 
of  the  Crown  Perfumery  Company.  It  has  a 
cooling  and  most  refreshing  odour,  and  is  well 
suited  to  the  heated  atmosphere  of  the  theatre. 


The  same  company's  "Lavender  Smelling  Salts  " 
is  much  used  by  both  actors  and  actresses  as  a 
reviver  during  an  arduous  performance.  I  have 
already  mentioned  the  "  vinolia  "  preparations  ; 
they  should  be  in  every  actor's  "make-up" 
box,  as  they  are  most  useful  and  necessary. 
In  the  winter  time  and  during  cutting  east 
winds,  I  advise  the  daily  use  of  "Beetham's 
Glycerine  and  Cucumber " ;  this  brand  is  a 
really  genuine  production,  and  vastly  superior 
to  the  article  put  up  under  the  same  name  by 
local  chemists  and  patent  medicine  stores.  The 
latter  are  both  impure  and  do  not  contain  the 
best  ingredients  ;  and  my  advice  is  to  leave  them 
in  the  shop  windows,  and  buy  Beetham's  at  the 
slight  extra  charge.  I  have  mentioned  all  these 
articles,  because  they  are  essential  to  the 
theatrical  toilet,  and  necessary  for  attaining 
success  in  the  art  of  "  making-up."  All 
amateurs,  too,  as  well  as  professionals,  will  find 
the  need  of  such  things,  and  these  few  remarks 
will  help  them  to  find  out  which  are  really  the 
best  and  most  effective  goods  to  be  obtained.  I 
may  add,  in  conclusion,  that  Guerlain  will  send 
a  neat  little  catalogue,  printed  in  French,  on 
application,  and  that  his  goods  can  be  had  by 
parcel  post  on  receipt  of  a  P.O.O.  ;  there  is 
duty  to  pay,  however,  on  receipt  of  goods  in 
England,  but  this  is  not  very  much.  As  I  wish 
to  make  these  papers  as  useful  and  practical 
as  possible,  there  are  a  few  odds  and  ends  which 
I  have  not  mentioned,  and  which  I  will,  there- 
fore, treat  upon  in  a  succeeding  chapter.  I  was 
in  hopes  of  obtaining  some  information  on  the 
manufacture  of  grease  paints,  and  conducting 
some  experiments  thereon,  with  a  view  of  showing 
my  readers  how  to  make  their  own  sticks  of 
colours,  and  so  ensuring  their  absolute  purity. 
This  I  have  not  yet  succeeded  in  doing  to  a 
sufficient  extent  to  allow  me  to  give  satisfactory 
instruction  therein ;  but  I  still  hope  to  do  so, 
sooner  or  later,  as  no  information,  as  far  as  I 
am  aware,  has  ever  been  printed  on  the  subject, 
and  is,  therefore,  likely  to  prove  of  some  value 
to  the  theatrical  world  at  large. 

Many  more  preparations  beside  the  above 
might  be  mentioned,  but  I  think  I  have  made 
clear  to  the  amateur  the  necessity  for  perfect 
cleanliness  in  removing  the  "  make-up." 


A   POCKET  MEDICAL    COIL. 


407 


A  POCKET  MEDICAL  COIL. 

By  ALLAN  TRAY  NOR. 


I. — Case— Coil— Bobbin. 
COIL  is,  in  many  cases,  one  of  the 
first  instruments  which  the  electrical 
amateur  is  ambitious  to  make.  Its 
construction  may  teach  him  some  very  im- 
portant  lessons  in    regard    to   which   he    may 


to  give  shocks,  or  produce  sparks.  When  made 
for  the  first  purpose,  it  is  called  a  shocking,  or 
medical  coil ;  when  made  for  the  second  pur- 
pose, it  is  called  an  induction,  or  intensity  coil. 
The  principle  on  which  either  shocks  or  sparks 
are  produced  is  the  same  in  both  cases.  A 
current  from  a  battery  is  necessary  to  start  with  ; 
but  if  the  path  which  the  current  takes  is  made 
up  of  a  number  of  turns  of  wire,  as  it  is  in  a 


fic.  I. 


FIG. 5, 


\ 

e 

Q 

e 

1 

/ 

1 

•v;:;;:;;^ 

1  e 

1   o 

!  d 

x  ;           i  ° 

~]        T" 

1 J 

7 

FIC.  6. 


FIC.  7 


FIC.3 


have  only  a  hazy  idea  from  consulting  text- 
books ;  and  ii  well  made  and  efficient,  there  is 
always  the  greater  pleasure  in  using  one's  own 
handiwork.  To  become  expert  in  the  making 
of  any  piece  of  apparatus  which  demands  the 
management,  winding,  and  insulation  of  wires, 
the  amateur  can  only  gain  his  skill  by  trying 
his  hand  at  coils. 

A  coil  may  be  built  for  either  of  two  purposes  : 


Fic. 2. 


coil,   the    effects    of    the    eurrent   are   greatly 
increased. 

That  this  can  be  proved,  one  or  two  simple 
experiments  will  show.  If  we  complete  the 
circuit  of  any  cell  by  bringing  the  ends  of  the 
wires  to  touch  each  other,  and  then  separate 
them,  a  tiny  spark  will  be  visible  at  the  moment 
of  separation.  If  one  wire  (or  both)  be  wound 
round  a  lead  pencil,  and  slipped  off,  the  wire 


408 


A  POCKET  MEDICAL    COIL. 


being  now  in  the  form  of  a  helix,  or  coil,  and  the 
foregoing  experiment  repeated,  it  will  be  found 
that  the  spark  is  not  only  larger,  but  brighter. 
If  a  piece  of  soft  iron  is  inserted  in  the  helix, 
and  the  experiment  again  repeated,  the  result  is 
a  still  further  increase  of  the  spark.  Now,  why 
do  we  get  these  results  ?  The  small  spark  in 
the  first  experiment  is  produced  by  the  current 
from  the  battery  burning  a  minute  portion  of 
the  wire.  The  larger  spark  was  caused  by  the 
wire  being  in  the  coil  shape,  one  turn  of  the 
wire  increasing  the  activity  of  the  current  in  the 
turn  next  to  it,  and  this  increased  activity  pro- 
duced an  increase  of  spark.  When  the  piece  of 
soft  iron  was  inserted  in  the  coil,  the  iron 
became  a  magnet  while  the  current  passed  ;  its 
magnetism  increased  the  current  in  the  coil,  and 
the  largest  spark  was  the  result. 

It  must  be  borne  in  mind  that  the  results,  as 
above  stated,  are  only  got  when  the  circuit  is 
made  and  broken,  as  by  touching  and  separating 
the  ends  of  the  wires  from  the  battery ;  that  is 
to  say,  the  sparks  are  not  continuous,  but  may 
be  made  to  appear  so  if  a  very  rapid  making  and 
breaking  of  circuit  is  arranged  for.  In  all  coils 
there  is  an  arrangement  of  this  kind,  as  we  shall 
see.  In  order,  however,  to  understand  the 
matter  thoroughly,  it  may  be  well  to  perform 
one  more  experiment.  Arrange  a  cell,  a  gal- 
vanometer, and  a  rough  file  (as  in  Fig.  1); 
complete  the  circuit  by  touching  the  file  f,  and 
the  needle  of  the  galvanometer  will  be  deflected. 
It  may  knock  about  pretty  much,  but  keep  the 
end  of  the  wire  on  the  file  till  the  needle  comes 
to  rest.  Now  draw  the  wire  smartly  along  the 
file,  and  watch  the  needle.  When  the  wire  is 
drawn  along  the  file,  the  circuit  is  actually  made 
and  broken  every  time  the  wire  passes  from  one 
tooth  of  the  file  to  the  next;  but  the  effect  on 
the  galvanometer  is  as  though  there  were  no 
make  and  break,  \\xi  a  continuous  current,  as 
the  needle  remains  in  the  position  to  which  it 
was  first  deflected. 

These,  then,  are  the  principles  on  which  coils 
are  constructed.  In  the  preceding  experiments 
it  is  only  the  inductive  action  of  the  wire  upon 
itself  that  we  have  been  observing.  The 
inductive  action  of  one  wire  upon  another  does 
not  enter  into  our  subject  at  the  present  time, 


as  the  coil,  whose  construction  we  are  about  to 
describe,  works  on  the  principle  of  the  extra 
current,  as  it  is  sometimes  called. 

And  now  we  proceed  to  work.  The  first  part 
of  the  coil  to  be  made  is  the  case  in  which  the 
whole  apparatus  is  carried.  This  is  shown  at 
Tig.  2,  and  is  made  out  of  a  square  block  of  any 
hard,  well-seasoned  wood.  The  block  is  to  be 
4|  inches  long,  3  inches  broad,  and  1£  inches 
thick,  and  its  surfaces  well  planed  and  finished. 
At  a,  B,  and  c,  in  one  end  of  it,  holes  or  channels 
have  to  be  bored,  a  and  c  being  }£  inch  diameter 
(or,  if  more  suitable,  these  may  be  made  1  inch, 
in  which  case  the  block  will  require  to  be  1  \  inch 
thickj,  and  b  J  inch  diameter  ;  each  channel  is 
4  inches  deep,  and  must  be  cleanly  made  ;  the 
channel  A  is  to  contain  the  coil,  c  the  battery, 
and  b  the  handles.  A  square  opening  is  cut  out 
of  one  side  of  the  case  between  a  and  b,  as 
shown ;  the  opening  is  £  by  ■£$.  Between  b  and 
g  a  square  cut  is  made,  h  inch  deep  and  J  inch 
broad.  Through  the  bottom  of  the  case  at  f, 
and  into  the  channel  A,  a  f  inch  hole  is  bored. 
From  that  side  of  the  case  in  which  the  openings 
are  made,  a  hole,  as  at  x,  is  to  be  made  with  a 
a  fine  bradawl  into  the  battery  channel,  as  near 
the  bottom  of  the  channel  as  it  can  be  formed. 
At  d  and  e  holes  have  to  be  bored  right  through 
the  case  with  a  gimlet ;  in  this  operation,  care 
has  to  be  taken  that  the  holes  are  passing 
through  the  wood  which  divides  the  two 
channels,  and  not  through  the  channel  on 
either  side. 

We  now  make  what  is,  perhaps,  the  most 
important  part  of  the  apparatus — the  coil  itself. 
The  reel  on  which  the  wire  is  wound  is  shown 
at  Fig.  3.  The  round  ends,  or  checks,  are 
£  inch  diameter,  f  inch  thick,  their  central  hole 
being  |  inch  diameter;  they  are  better  to  be 
turned  out  of  boxwood.  Before  making  the 
central  hole  in  one  of  the  ends,  a  circular  check 
has  to  be  formed  upon  it  (as  shown  at  Fig.  4) ; 
this  check  is  \  inch  diameter,  and  *fe  inch  deep  ; 
one  turn  or  so  of  a  good  centre-bit  will  make  it. 
This  done,  the  central  f  inch  hole  may  be  bored. 
The  tube,  t,  may  be  made  of  two  or  three  thick- 
nesses of  brown  paper,  wound  first  on  a  wooden 
former,  such  as  a  lead  pencil.  When  finished, 
the  tube  must  be  stiff,  and  not  more  than  A  inch 


A   POCKET  MEDICAL    COIL. 


409 


in  thickness ;  it  is  to  be  fixed  with  good  glue 
into  the  central  holes  of  the  boxwood  ends,  the 
circular  check  being  to  the  outside.  The  space 
on  which  the  wire  is  to  be  wound  is  2f  inches. 

We  have  now  to  select  the  size  of  wire  to  be 
employed  in  winding  the  reel.     While  we  are 
not  tied   down  to   any  particular   size,  it  will 
perhaps  be  found  that  No.  30  B.W.G.,  silk- 
covered,  is  most  suitable;  with  this  the  reel  has 
to  be  filled.  The  exact  quantity  cannot  very  well 
be  stated,  as  it  depends  upon  the  closeness  with 
which  the  amateur  can  wind.    It  is  always  best  to 
buy  wire  of  the  smaller  sizes  wound  on  a  bobbin, 
from  which  it  can  be  wound  off  on  to  the  reel 
with  little  chance  of  kinking  ;  it  is  also  important 
that  the  ends  of   the    bought  bobbin  of   wire 
should  be  free,  so  that  the  continuity  of  the  wire 
may  be  easily  tested  before  the  winding  begins. 
This,  then,  is  the  first  thing  to  be  done  with  our 
wire — to  make  sure  that  it  is  not  broken  ;  it  is 
easily  accomplished  by  sending  a  current  through 
it.     One  pole  of  a  battery  is  connected  to  one 
terminal  of   a  galvanometer,  the  other  pole  to 
one  end  of  the  bobbin  of  wire,  and  the  circuit  is 
completed  by  touching  the  other  terminal  of  the 
galvanometer  with  the  free  end  of  the  bobbin  of 
wire.     If  the  wire  is  continuous,  on  completing 
the   circuit,   the   needle   will   be   deflected ;    if 
broken,  no  deflection  takes  place.     In  the  case 
of  the  wire  being  found  to  be  broken,  it  will 
require  to  be  wound  on  to  another  bobbin  by 
passing  it  through  the   fingers,  and  carefully 
feeling  every   inch    of  it  till  the  break  is  dis- 
covered.    The  broken  ends  are  to  be  separated 
by  undoing  the  insulation,  then  soldered,  using 
rosin  as  the  flux,  and  the  insulation  carefully 
replaced.     And  here  it  may  be  observed  that, 'in 
soldering  wires  in  this  manner,  the  greatest  care 
is  necessary  not  to  make  the  joint  any  thicker 
than  can  be  possibly  helped  ;  a  thick,  clumsy 
joint  will  spoil  the  regularity  of  a  layer  when 
the  soldered  part  comes  to  be  wound.    It  should 
also  be  noted  that  if  the  insulation,  when  re- 
placed on  a  joint,  is  seen  to  be  covering  the 
joint  insufficiently,  the  deficient  insulation  must 
be  made  good  by  something  else  ;  perhaps  the 
thinnest   substance   that   one    can    use  is    fine 
cotton  thread,  which  can  be  easily  wound  round 
the  joint  and  fastened.     A  dab  or  two  of  shellac 


varnish,  applied  with  a  soft  brush,  and  worked 
into  the  thread  all  round  the  joint,  will  make  the 
part  secure. 

As  shellac  varnish  is  to  be  used  in  insulating 
each  layer  of  wire  on  the  coil,  it  may  be  well 
that  we  should  know  how  to  make  it.  It  is 
made  by  placing  an  ounce  or  two  of  shellac  in  a 
wide-mouthed  bottle,  and  pouringuponitas  much 
spirits  of  wine  as  shall  cover  it ;  give  the  con- 
tents of  the  bottle  an  occasional  shake  up.  In 
twenty-four  hours  the  varnish  will  be  made,  by 
the  spirits  of  wine  dissolving  the  shellac ;  bore 
a  hole  in  the  cork  of  the  bottle,  and  pass  a  brush 
through  it,  so  that  the  cork  holds  it.  The  brush 
end  is  to  be  always  among  the  varnish,  being 
thus  kept  clean  and  ready  for  use  at  any  time. 

Before  we  begin  to  wind  the  coil,  it  is  always 
better  to  drive  off  all  moisture  from  the  wire. 
For  this  purpose  it  has  to  be  "  baked,"  by 
being  placed  in  a  warm  oven  for  a  short  time. 
The  paper  tube  should  also  be  treated  to  a  coat 
of  the  insulating  varnish  ;  when  the  varnish  is 
hard  and  dry  (which  will  be  in  a  few  minutes), 
make  a  slanting  hole  with  a  thin,  sharp  bradawl 
through  the  boxwood  end,  on  which  the  check 
is  formed  (Fig.  4).  The  direction  of  the  hole  is 
to  be  from  the  circumference  of  the  boxwood  end 
towards  the  tube,  the  point  of  the  bradawl 
coming  through  the  wood  as  near  the  tube  as 
possible ;  through  this  hole  one  end  of  the 
bobbin  of  wire  (the  outer  one)  is  to  be  passed, 
and  4  inches  or  so  left  for  connection  ;  pass  into 
the  tube  the  wooden  former,  on  which  it  was 
made,  and  keep  it  there  during  the  winding ; 
now  proceed  to  cover  the  tube  with  its  first 
layer  of  wire,  laying  the  turns  of  the  wire  as 
close  to  each  other  as  they  will  go,  till  the  oppo- 
site end  is  reached.  The  wire  is  to  be  wound 
smoothly,  evenly,  and  closely ;  and  should  a 
kink  occur,  it  must  be  put  right.  When  the 
layer  is  complete,  it  must  be  tested  to  make  sure 
that  in  winding  the  wire  has  not  got  broken. 

The  method  of  testing  each  layer,  as  wound, 
is  similar  to  that  already  described  for  the  wire 
on  being  purchased ;  but  in  order  to  prevent  the 
confusion  which  printed  directions  frequently 
cause,  it  is  shown  at  Fig.  5.  Connect  the  free 
end  of  the  layer,  which  passes  through  the  box- 
wood end,  with  one  pole  of  the  battery,  b  ;  the 


410 


A   POCKET  MEDICAL    COIL. 


other  pole  of  the  battery  is  connected  to  one 
terminal  of  a  galvanometer,  o.  Complete  the 
circuit  by  connecting  the  free  end  of  the  wire  on 
the  bobbin,  w  (which  contains  the  wire  yet  to  be 
wound),  to  the  other  terminal  of  the  galvano- 
meter. If  the  layer  already  wound  is  right,  the 
needle  is  deflected  ;  should  no  deflection  occur, 
the  layer  is  broken,  and  must  be  repaired  as 
already  described. 

Having  tested  and  found  the  layer  correct,  it 
should  now  receive  a  good  coat  of  shellac 
varnish,  making  good  use  of  the  brush  to  work 
the  varnish  well  in ;  when  the  varnish  is  dry, 
the  layer  is  to  be  further  insulated  by  being 
neatly  covered  with  paper  ;  any  soft  paper  will 
be  suitable,  provided  it  be  neither  the  usual 
brown  paper,  which  may  be  too  thick,  nor  the 
ordinary  silk  paper,  which  is  too  thin.  The 
breadth  of  the  paper  is  to  be  such  that  it  will 
cover  the  entire  layer  to  the  very  edges  of  the 
boxwood  ends,  and  of  sufficient  length  to  go 
once  round  the  layer,  and  overlap  about  \  inch. 
The  side  of  the  paper  to  be  next  the  wire  is  to 
be  varnished,  and  before  it  dries,  it  is  laid 
carefully  round  the  layer,  and  smoothed  down 
with  the  hand.  The  second  layer  is  now  pro- 
ceeded with  by  winding  back  to  where  the  first 
layer  commenced,  testing  and  insulating  when 
finished  ;  in  this  manner  the  reel  is  to  be  filled, 
every  layer  being  tested  and  insulated  as 
described.  The  winding  is  to  finish  at  the  same 
boxwood  end  as  it  commenced,  a  second  slanting 
hole  being  made,  through  which  the  end  of  the 
last  layer  is  passed,  leaving  about  4  inches  for 
connection. 

In  our  preliminary  experiments  we  observed 
that  when  a  rod  of  soft  iron  was  enclosed  in  a 
•helix  of  wire,  the  effects  of  the  current  were 
largely  increased.  The  iron  rod  became  a  magnet 
during  the  passage  of  the  current  round  it ;  its 
magnetism  was  communicated  to  the  wire,  aud 
appeared  as  electricity  in  the  larger  spark  which 
was  produced.  The  part  of  our  coil  which 
corresponds  with  the  iron  rod  is  called  the 
"core,"  and  consists  of  a  bundle  of  soft  iron 
wires  ;  it  is  made  up  of  lengths  of  what  is  known 
as  binding  wire,  of  the  softest  quality,  and  of 
about  the  same  gauge  as  the  copper  wire  wound 
round  the  coil.  The  wires  are  3J  inches  long,  the 


diameter  of  the  bundle  when  finished  being 
£  inch.  A  diagram  of  the  bundle  is  shown 
at  Fig.  6.  It  will  be  observed  that  one  end  of 
the  core  is  furnished  with  a  brass  collar.  The 
diameter  of  the  collar  is  \  inch,  and  rV  inch 
thick  ;  the  length  of  the  small  piece  of  brass 
tube  («)  is  i'6  inch  ;  its  internal  diameter  \  inch, 
and  its  external  diameter  such  as  will  allow  it 
to  enter  the  central  hole  of  the  boxwood  e  nd  on 
which  the  check  was  formed.  In  building  the 
core,  it  is  better  to  complete  the  collar  first ; 
then  fill  the  brass  tube  (a)  with  perfectly 
straight  lengths  of  iron  wire,  till  no  more  can 
be  passed  through.  Tho  core  may  bulge  out 
at  the  middle,  but  a  small  piece  of  the  wire 
wound  round  it  temporarily  will  keep  it  right. 
When  a  has  been  filled,  the  protruding  ends  are 
to  be  filed  flush  with  the  surface  of  the  collar ; 
then  apply  a  touch  of  solder,  and  file  the  solder 
flush  also.  The  opposite  end  of  the  core  should 
also  receive  a  touch  of  solder,  to  keep  the  wires- 
from  springing.  On  taking  off  the  piece  of  wire 
wound  temporarily  round  it,  the  core  should 
have  the  appearance  of  a  round  solid  bundle, 
having  every  wire  perfectly  straight.  When  the 
core  is  finished,  it  should  be  passed  into  the 
coil,  to  see  that  the  collar  makes  a  good  fit  with 
the  check  made  for  it  in  the  boxwood  end  of 
Fig.  4.  The  surface  of  the  collar  and  the  surface 
of  the  boxwood  should  be  flush. 

The  tube  which  slides  over  the  core,  and  by 
which  the  strength  of  the  shock  is  regulated,  is 
shown  at  Fig.  7.  It  is  of  brass,  3£  inches  long, 
and  of  such  a  diameter  that  it  can  slide  easily 
over  the  core  when  the  latter  is  inserted  in  the 
coil;  one  end  is  furnished  with  a  small  wooden 
head,  to  be  used  as  a  handle,  by  means  of  which 
the  tub    is  worked. 


Steoscueix,  of  Berlin,  makes  Liquid  Bronze 
by  treating  dammar  resin  with  one-third  its 
weight  of  carbonate  of  potassium,  stirring  for 
three  days,  and  then  finally  powdering  the 
resinous  mass.  Next  it  is  scattered  in  thin 
layers  on  hurdles,  exposed  to  a  temperature  of 
50°  C,  after  dry  ammonia  gas  has  been  led 
through  the  solvent.  The  bronze  powder 
remains  suspended  in  this  varnish. — Scientific 
American. 


A   FEW  NOTES   ON  FURNITURE  REVIVERS 


411 


A    FEW    NOTES   ON   FURNITURE 
REVIVERS. 

By  CBAS.  A.  PARKER. 

FURNITURE  reviver  to  be  good 
should  posses  certain  detergent  pro- 
perties, and  be  capable  of  a  high 
degree  of  polish,  -without  leaving  that  unpleasant 
greasiness  of  surface  too  frequently  met  with  in 
preparations  of  this  character,  and,  moreover,  it 
should  contain  nothing  that  would  be  likely  to 
prove  injurious  to  the  most  delicate  piece  of 
furniture.  Of  all  methods  of  reviving  furniture, 
there  is  nothing  that  answers  the  purpose  better 
than  a  good  oil,  which  may  preferably  be  a 
drying  oil,  such  as  linseed  oil,  which  will  be 
found  to  "skin"  readily,  without  causing  any 
after  sweating,  or  that  dimness  of  surface  which 
invariably  attends  the  use  of  rape  or  olive  oils. 
A  mixture  of  linseed  oil  and  turpentine  may  be 
said  to  form  a  very  useful  furniture  oil,  but, 
practically  speaking,  something  more  than 
this  is  required ;  as  such  a  preparation  is  in- 
capable of  removing  any  existing  impurities, 
and,  moreover,  fails  to  "bite"  the  surface  of 
the  wood,  at  the  same  time  exhibiting  a  fondness 
for  collecting  in  the  corners,  and  obscurin  g  the 
°Tain  of  the  wood.     It  is  for  this  reason  that 

o 

most  of  the  best  revivers  are  made  slightly  acid 
or  perhaps  alkaline. 

As  is  well  known,  beeswax  is  capable  of 
taking  a  high  degree  of  polish  when  used  in 
conjunction  with  turpentine  ;  but,  unfortunately, 
such  a  preparation  has  very  slight  detergent 
properties,  and  will  simply  be  found  in  polish 
over  any  existing  dirt  with  which  the  surface 
of  the  furniture  may  have  become  clogged ;  it  is 
therefore,  advisable  to  carefully  clean  the  articles 
before  applying  a  composition  of  this  kind. 
This  may  be  effected  by  the  use  of  cold  tea, 
warm  ale,  diluted  vinegar,  or  soap  and  water,  as 
may  be  most  convenient.  The  following  pro- 
portions will  be  found  to  form  a  useful  paste  of 
this  description: — One  part  best  yellow  beeswax, 
to  two  parts  of  turpentine  ;  or  the  paste  may  be 
still  further  improved  by  the  addition  of  a  small 
quantity  of  linseed  oil  and  white  resin  in  the 
proportion  of  one  part  of  each  to  every  thirty  of 


the  mixture.  A  better  class  of  furniture  paste 
or  cream,  which  will  be  found  to  possess  good 
detergent  properties,  may  be  made  in  a  slightly 
different  manner  to  the  above.  Two  parts  of 
good  yellow  beeswax,  and  one  part  of  white  wax, 
are  carefully  shredded  and  dissolved  in  eight 
parts  of  turpentine,  by  the  aid  of  gentle  heat ; 
another  mixture  being  meanwhile  prepared  by 
boiling  one  part  of  Castile  soap,  and  a  small 
piece  of  resin  about  the  size  of  a  hazel-nut,  in 
eight  parts  of  water,  and  when  melted  the  two 
are  thoroughly  mixed  together  and  strained 
through  fine  muslin  into  a  gallipot,  or  a  wide- 
mouthed  bottle,  ready  for  use.  Yet  another 
cream  which  possesses  still  greater  detergent 
properties  than  the  above,  is  made  by  dissolving 
two  parts  of  white  soap  in  thirty  parts  of  warm 
water,  after  which  two  parts  of  salt  of  tartar, 
and  thirteen  parts  of  white  wax,  are  added  and 
melted  by  the  aid  of  a  gentle  heat,  and  when 
these  ingredients  have  become  quite  dissolved, 
seventy  parts  of  turpentine  are  gradually  added 
with  constant  shaking. 

Turning  now  to  what  may  be  called  "  chemical 
revivers,"  the  following  will  be  found  to  furnish 
a  good  working  polish  possessing  high  detergent 
properties.  One  part  of  muriate  of  ammonia  is 
added  to  twenty  parts  of  linseed  oil,  and,  after 
being  well  shaken,  two  parts  of  spirit  of  wine, 
eight  parts  of  vinegar,  and  half  a  part  of  spirit 
of  camphor,  and,  lastly,  half  a  part  of  muriate  of 
ammonia,  are  added  in  a  similar  manner,  the 
bottle  being  well  shaken  after  each  fresh 
addition.  Another  good  chemical  reviver  of 
this  class,  which  likewise  contains  no  turpentine, 
is  composed  of  a  quarter  part  of  gum  sandarac 
dissolved  in  ten  parts  of  spirits  of  wine,  and  half 
a  part  of  nitric  acid  in  five  parts  of  vinegar,  the 
whole  being  added  to  ten  parts  of  linseed  oil. 
A  third  form  of  reviver  without  turpentine,  and 
with  a  fair  proportion  of  spirit,  is  made  by 
melting  one  part  of  black  resin  in  a  suitable 
vessel,  and  adding,  with  constant  stirring,  when 
melted,  sixteen  parts  of  linseed  oil  and  four  parts 
of  vinegar,  after  which  the  mixture  is  kept  at  a 
boil  for  a  few  minutes,  and  then  placed  aside  to 
become  cool .  Having  become  sufficiently  cooled, 
it  is  poured  into  a  suitable  bottle,  with  the  after 
addition  of  three  parts  of  rectified  spirits,  two 


412 


NOTES  ON  NOVELTIES. 


parts  of  spirit  of  salts,  and  one  part  of  butter  of 
antimony,  the  bottle  being  thoroughly  shaken 
after  the  addition  of  each  ingredient. 

Another  excellent  reviver,  which  is  similar  to 
the  first  of  the  above  chemical  polishes,  but 
which  contains  a  good  proportion  of  turpentine 
and  spirit,  is  composed  of  twenty  parts  of  linseed 
oil,  three  parts  of  distilled  vinegar,  two  parts 
spirit  of  turpentine,  one  part  spirit  of  wine,  and 
half  a  part  of  muriatic  acid.  In  using  the 
following  polish  it  is  necessary  to  be  particular 
to  get  the  surface  scrupulously  clean  before  the 
reviver  is  applied.  Ten  parts  of  vinegar  and 
ten  parts  of  linseed  oil  are  mixed  together,  and 
again  combined  with  two  and  a-half  parts  each 
of  turpentine  and  copal  varnish.  A  good  useful 
reviver  is  thus  formed,  which,  however,  requires 
a  considerable  expenditure  of  elbow-grease  in 
order  to  obtain  the  best  results. 

Almost  every  housewife  may  be  said  to  be 
acquainted  with  the  manner  of  applying  a 
furniture  reviver;  and  as  all  preparations  of  this 
class  are  applied  in  a  similar  manner,  this 
branch  of  the  subject  will  not  call  for  any 
special  mention  ;  suffice  it  to  say,  that  in  all  cases 
it  is  important  for  the  furniture  to  be  properly 
cleaned  of  all  dirt  before  applying  a  reviver.  A 
piece  of  woollen  rag,  made  up  into  a  small  ball 
of  a  convenient  size  to  be  held  in  the  hand,  is 
applied  in  the  neck  of  the  bottle  containing  the 
preparation,  against  which  it  is  shaken  a  few 
times  until  it  has  become  sufficiently  damped. 
The  rag  is  now  rapidly  and  evenly  passed  over 
the  surface  of  the  work  until  the  reviver  has 
been  evenly  distributed  and  the  rag  has  become 
dry  ;  the  surface  is  again  gone  over  in  a  similar 
manner,  but  with  a  dry  soft  rag  this  time,  a 
circular  motion  being  persevered  with  until  a 
brilliant  polish  has  been  secured. 


NOTES  ON   NOVELTIES. 

By  THE  EDITOR. 


5ILVASTOK.—  Mr.  T.  Holden,  17,  Eargreaves 
Street,  Burnley.  This  is  a  liquid  which,  being 
applied  to  gold,  silver,  or  plated  goods, 
possesses  the  remarkable  faculty  to  preserve 
and  protect  the  polished  surface  of  the  metal  from  tarnish 
and  from  sullying  produced  by  the  atmosphere  or  perspira- 
tion  from   the   hand.     Having  tried   this   article,    I   am 


satisfied  that  it  is  capable  of  accomplishing  all  that  its 
proprietor  claims  for  it ;  and  1  think  that  it  will  prove  a 
boon  to  those  who  have  a  large  service  of  plate  under  their 
care,  and  know  the  amount  of  labour  that  repeated 
furbishing  entails.  By  its  use  they  will  find  that  vexations 
on  that  score  will  be  matters  of  the  past,  and  that  their 
work  will  be  reduced  to  an  insignificant  consideration. 

Practical  Amateur  Photography. — Mr.  0.  C.  Vevers,  12, 
Market  Street,  Briggate,  Leeds,  has  issued  a  fourth  edition 
of  this  handy  little  manual ;  and  I  would  recommend  each 
and  every  photographer  who  does  not  possess  it,  to  procure 
a  copy  without  delay.  The  information  the  book  imparts 
clears  away  in  a  marvellous  manner  the  mystery  which 
enwraps  the  initiatory  stages  of  the  art,  and  will  enable 
the  tyro  to  go  ahead  with  certainty  and  confidence.  The 
several  processes  and  methods  of  taking,  developing,  and 
finishing  the  photo  picture  are  explained  in  such  concise 
language  that  an  average  intellect  cannot  fail  to  achieve 
success,  especially  as  the  author  has  carefully  avoided 
technical  terms  and  theoretical  detail,  which  too  frequently 
dishearten  and  perplex  the  amateur  operator.  So  much  for 
it  as  a  book  for  beginners  ;  but  as  a  text-book  for  those 
more  advanced,  it  is  to  be  equally  recommended,  for  in 
Part  II.  are  described  alternative  methods  of  developing, 
and  the  relative  properties  of  the  newest  developing  agents, 
together  with  advice  likely  to  be  of  service  in  such  matters 
as  posing  a  sitter,  photography  by  artificial  light,  and 
copying  and  enlarging.  Bound  up  at  the  end  of  the  book 
are  a  set  of  labels,  ready  gummed,  for  attaching  to  bottles, 
which  will  be  welcomed  as  a  novel  and  attractive  feature. 
The  book  is  published  at  sixpence. 

Electrical  Catalogue. — Messrs.  Gent  &  Co.,  Faraday 
Works,  Leicester,  send  me  their  supplementary  catalogue 
of  cheap  electrical  goods  and  novelties  not  included  in 
their  regular  list.  Herein  are  comprised  telephones, 
electric  bells,  having  indicators  of  a  novel  character,  and 
fittings  of  various  kinds,  with  descriptive  matter,  a  perusal 
of  which  will  be  half  an  hour's  profitable  study  to  the 
amateur  who  is  thinking  of  fixing  his  own  bells  or 
telephones,  or  of  setting  up  the  electric  light  in  his  home  ; 
in  fact,  there  is  no  doubt  that  all  wants  electrical  can  be 
satisfied  on  application  to  Messrs.  Gent  &  Oo. 

Screws  and  Screw-Making. — The  Britannia  Company, 
Colchester.  Amateurs  whose  knowledge  of  screws  is  limited 
to  the  small  agencies  whereby  they  fasten  the  parts  of  their 
handiwork  together,  can  have  little  conception  of  the 
diverse  elements  that  are  comprised  in  the  several  varieties 
of  the  whole  screw  family.  This  book,  as  its  preface 
asserts,  is  "  the  largest  volume  devoted  to  screws  and  screw- 
making,"  and  contains  the  information  that  amateurs 
are  deficient  in ;  it  gives  a  good  idea  of  the  different 
systems  of  screws  by  referring  in  turn  to  the  peculiarities 
of  pitch,  thread,  and  diameter  that  distinguish  them.  The 
processes  employed  in  obtaining  screws  are  also  treated  of, 
and  the  use  of  screw-plates,  stock  and  die3  and  screw- 
cutting  in  the  lathe,  are  described  in  a  clear  and  instructive 
manner.  The  chapters  on  machines  for  screw-making,  and 
the  chapter  on  that  important  advancement  in  metal  working 
tools,  the  milling  machine,  will  be  read  with  interest  by  all 
who  are  concerned  in  screw-making  machinery. 


"AMATEUR    WORK"   PRIZE   SCHEME. 


413 


Wood  Carving  for  Amateurs. — Crosby  Lockwood  &  Co., 
7,  Stationers'  Hall  Court,  London,  E.C.  The  author  of 
this  book  (a  lady),  although  claiming  to  be  no  other  than 
an  amateur,  has  succeeded  in  producing  a  very  useful  com- 
panion for  the  beginner  in  wood  carving  that  will  guide 
him  on  the  road  to  proficiency,  and  will  help  him,  when 
he  encounters  points  of  difficulty,  to  overcome  them.  The 
instructions  given  in  the  course  of  the  work  are  all  the 
more  valuable  as  they  are  deductions  from  the  author's  own 
experience,  and  particularly  the  chapter,  "Hints  on 
Design,"  is  likely  to  prove  edifying  and  interesting  to  the 
amateur ;  whilst  the  collection  of  illustrations  will  provide 
him  with  examples  which  he  may  imitate,  or  take  sugges- 
tions from,  as  he  pleases.  The  ability  with  which  the  author 
discourses  is  ample  proof  that  her  knowledge  is  not  all 
theoretical ;  and  anyone  who  desires  to  pursue  wood  carving 
for  recreation  or  profit  will  do  well  to  read  the  book  and 
digest  carefully  its  admonitions,  and  he  may  safely  follow 
the  guidance  it  affords. 


AMATEUR      WORK 

PRIZE    SCHEME. 

XV. — Prizes  to  the  value  of  £1  and  10s.,  respectively,  are 
offered  for  the  TWO  BEST  PIECES  OF 
FRETWORK  executed  and  sent  in  by  youths 
under  18  years  of  age.  Each  specimen  must  be 
accompanied  by  a  letter  from  parent  or  guardian 
attesting  the  age  of  the  competitor. 

Assuming  that  there  are  among  the  readers  of  Amateur 
Work,  Illustrated,  a  number  of  lads  under  the 
age  of  18  years,  who  watch  and  wait  anxiously  for 
the  issue  of  the  Magazine,  and  who  search  diligently 
month  by  month  its  pages  for  inspiration  and  in- 
struction, I  have  decided  to  give  these  lads  a 
chance,  and  have  set  apart  this  competition  for 
them  exclusively.  I  hope,  in  return,  that  they  will 
appreciate  this  opportunity,  and  that  a  good  contest 
will  be  the  result. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  July  29th,  carriage  paid,  and  addressed 
— The  Editor  of  Amateur  Work,  Warwick  House, 
Salisbury  Square,  Loitdon,  E.C. 

(3).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
(except  MS.)  must  enclose  an  addressed  label.  If 
the  article  i»  to  be  returned  by  parcel  post,  the 


label  must  be  fully  stamped ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 

(5).  The  prize  may  be  withheld  if,  in  any  competition,  less 
than  three  competitors  enter. 

(6).  The  decision  of  the  Editor  shall  be  final. 


RESULT  OF  COMPETITION. 

XII. 


The  speoimens  that  this  competition  has  called  forth — 
although  a  goodly  show  —  are  something  very 
different  from  the  unconsidered  trifles  which  I  had 
in  my  mind's  eye  when  I  made  the  announcement 
of  the  subject  of  Toys  for  a  competition.  Now,  I 
hold  that  a  toy,  pure  and  simple,  should  be  some- 
thing to  supply  the  infant  mind  with  an  attraction, 
and  at  the  same  time  present  no  intricacies  or 
entanglement  to  confuse  small  intellects  or  tiny 
fingers.  But  some  of  the  competitors  have  differed 
from  me  in  that  opinion,  as  many  of  them  have 
sent  in  excellently  constructed  models ;  in  fact, 
these  creditable  efforts  preponderate,  and  I  must 
accept  the  situation,  for  I  cannot  but  acknowledge 
their  claim  to  recognition.  The  one  specimen 
decidedly  superior  to  all  the  others,  is  a  mail  cart, 
possessing  so  remarkable  a  feature  as  adjustable 
shafts,  thus  evolving  a  novel  and  useful  notion.  (By 
the  way,  the  inventor  of  this  idea  is  anxious  to  dis- 
pose of  it.)  Did  the  cart,  however,  not  possess  this 
convenient  provision  for  adjustment,  it  would  be 
admired  for  its  handsome  appearance,  and  although 
constructed  of  odds  and  ends  only,  thanks  to  the 
skilful  manner  with  which  the  material  has  been 
manipulated,  there  is  no  evidence  of  makeshift. 
For  this  very  useful  toy  I  award  Mr.  J.  H. 
Edwards,  55,  Minford  Gardens,  West  Kensington, 
its  maker,  the  sum  of  one  pound  ten  shillings,  that 
being  the  first  prize  in  this  competition. 

Next  in  order  of  merit  I  find  the  model  of  a  loom,  which, 
says  the  maker  in  his  letter  of  explanation,  "  is  not 
an  exact  model,  but  merely  a  toy,"  although 
weaving  can  be  accomplished  by  its  aid  in  a  very 
satisfactory  manner,  as  the  piece  of  web  attached  to 
the  model  proves.  Not  inferior  in  point  of  interest 
to  this  is  a  model  crane,  constructed  in  good  imita- 
tion of  the  general  aspect  of  a  full-sized  machine. 
I  therefore  decide  to  share  the  honours  of  the 
second  prize  between  these  two,  and  accordingly 
award  tbe  sum  of  ten  shillings  each,  respectively,  to 
Mr.  C.  Baldock,  Ware,  Herts,  for  the  loom,  and  to 
Mr.  J.  Ballard,  grocer,  Ledbury,  for  the  crane. 
Among  the  remaining  specimens,  a  toy  windmill  is 
the  only  one  neatly  made,  but  beyond  that  has  no 
points  to  recommend  it ;  hence  I  am  reluctantly 
compelled  to  withhold  the  third  prize. 

VOL.   III.  (N.S.) — K   K 


414 


AMATEURS  IN  COUNCIL. 


AMATEURS  IN  COUNCIL. 


OPEN   TO   AIL  READERS. 


Organ  Building. 
"  E." — It  is  possible  to  make  a  pedal 
pipe  answer  for  two  notes,  and  in  some 
instances  the  dodge  is  quite  successful. 
It  is  not  advisable  to  make  more  than 
two  notes  sound  from  one  pipe.  The 
scale  for  a  third  note  would  be  so  large 
that  the  power  of  sound  would  be  far 
more  than  the  first  note.  Of  course, 
you  must  understand  that  only  open 
pipes  can  be  made  te  speak  in  this 
manner. — Organ  Builder. 

Scrap  Screen. 

"  C.  M."  —  Having  decided  the 
number  of  leaves  that  are  to  compose 
your  scrap  screen,  and  provided 
yourself  with  frames  accordingly, 
procure  of  coarse  canvas  or  calico  a 
sufficient  number  of  pieces  to  cover 
both  sides  of  each  leaf,  allowing 
adequate  length  and  width  for  turning. 
Wet  these  pieces  thoroughly,  and 
whilst  they  are  in  the  damp  condition 
fasten  them  by  means  of  glue  upon 
the  frames,  covering  both  back  and 
front  of  each  frame,  meanwhile  paying 
attention  to  the  neat  laying  of  the 
canvas  at  the  corners  and  at  the  edges. 
If  you  prefer  to  fasten  with  tacks, 
proceed  systematically  to  stretch  the 
canvas  at  right  angles  or,  in  other 
words,  from  centre  to  centre  of  each 
side  first,  then  serve  the  angles  in  the 
same  way  by  stretching  the  canvas 
diagonally  across  from  corner  to 
corner ;  all  this  whilst  the  canvas  is 
still  damp.  You  must  now  cover  the 
mounted  canvas  with  sheets  of  brown 
paper  well  pasted,  and  also  neatly 
matched  at  edges  ;  then  put  the  whole 
of  the  frames  aside  to  dry  ;  and  when 
that  is  accomplished,  you  will  be 
rewarded  by  a  condition  of  teusion  in 
them  of  the  tympanum  quality.  As 
an  alternative  method,  you  might 
stretch  upon  your  frames  American 
leather  cloth,  if  you  are  inclined  to  go 
to  the  expense  of  purchasing  that 
material. 

Reversing  Gear. 

Allen  Carswell  writes: — "In  read- 
ing an  article  in  Amateur  Work  on 
'  How  to  Drive  a  Lathe  by  Wind  Power,' 
I  thought  it  would  not  be  out  of  place 
to  inform  you  of  a  more  simple  arrange- 


ment for  reversing  lathe  than  described 
by  the  author  ;  it  being  much  less  ex- 
pensive, and  no  knocking  of  cog-wheels, 
would,  in  my  opinion,  be  preferred  by 
most  amateurs.  The  following  is  a 
short  description  of  drawing — A  is  a 
broad  pulley  on  the  driving  shaft,  a,  of 
windmill ;  f  is  a  counter  shaft  with 
three  pulleys  close  to  each  other,  the 
centre  one,  c,  being  keyed  to  shaft,  and 
the  other  two,  B  and  d,  running  loose  ; 
the  belt,  h,  runs  in  its  natural  position ; 
but  the  belt,  i,  has  a  half-twist ;  there- 
fore   revolving    the    pulley,    D,    in    a 


to 


<] 


A 

G 

< 

J    Shaft 

Si 
i> 

/ 
i 

i 

t 

I ! 

f 
i 

F 

t 

\S7LaJ*t>. 

.B.     C.     .d 


Ziexihe/. 


.i. 


different  direction  to  b.  You  will  re- 
quire two  belt  guides.  Now,  if  you  put 
the  belt,  u,  on  the  pulley,  c,  the  lathe 
will  run  towards  you  ;  if  you  replace 
ii,  and  slide  on  the  belt,  r,  the  latbe 
will  run  from  you.  As  tbe  above  is  not 
written  to  offend  tbe  author  in  any 
way,  I  hope  it  will  be  accepted  in  such 
a  way." 

[Your  plan  appears  to  simplify  con- 
siderably the  problem  of  reversing 
gear.  1  am  obliged  for  your  descrip- 
tion, and  doubtless  Mr.  Thorold  also 
will  appreciate  the  cordiality  of  your 
intention. — Ed.] 


Technical  Instruction  for  Lads. 
The  Sev.  W.  Wade,  8.  Peter's 
Vicarage,  fulham,  S.  W.,  writes  :— 
"Will  you  kindly  allow  me  through  the 
columns  of  your  Journal  to  appeal  to 
one  or  two  of  your  readers  who  have  a 
few  hours'  leisure  at  their  disposal  in 
the  week  ?  I  am  most  anxious  to  start 
industrial  classes  for  the  boys  of  the 
Children's  Guild  connected  with  this 
parish.  Unfortunately,  the  ordinary 
clerical  training  does  not  include  in- 
struction in  any  form  of  mechanical 
art,  and  my  own  fingers  can  do  little 
else  beyond  wield  a  pen.  However,  1 
hope  this  poor  skill  will  stand  me  in 
good  stead  now  if  you  will  allow  these 
lines  to  appear  in  your  Journal.  I 
should  be  most  grateful  if  any  gentle- 
man who  could  devote  an  hour  or  two 
in  the  week  to  the  instruction  of  about 
a  dozen  boys  (by  way  of  a  beginning) 
in  one  of  the  minor  arts  and  crafts, 
such  as  wood  carving  or  the  bent  iron- 
work, now  so  popular,  would  communi- 
cate with  me." 

Painting  Shop  Front. 
"  H.  M.  B." — I  should  imagine  that 
the  workman  who  manipulated  your 
shop  front  used  one  of  the  popular 
wood  dyes,  such  as  Stephens'  ebony 
stain,  or  perhaps  he  used  what  is  called 
a  "  flatting,"  made  of  drop  black  and 
turps,  with  a  small  quantity  of  varnish. 
Oak  varnish  is  a  tolerably  quick  dryer, 
and  would  do  for  finishing.  If  the 
job  is  not  extensive,  why  not  use  one  of 
those  convenient  preparations  sold  by 
Aspinall ;  they  save  a  lot  of  .trouble  and 
disappointment. 

Electrical  Matters. 
"  Desperate  Amateur  "  asks  the 
following  questions:  —  1.  Can  any 
reader  inform  him  what  size  boiler  an 
engine  with  a  cylinder  1-inch  bore  and 
2-inch  stroke  will  require  ?  (I  gather 
that  this  correspondent  wishes  to 
obtain  power  enough  to  drive  a  dynamo 
to  light  two  5-c.p.  lamps).  2.  What 
kind  of  dynamo  should  be  obtained,  and 
its  price?  3.  Whether,  by  using  a 
smaller  dynamo  driven  at  lower  speed, 
be  can  charge  accumulators  (which  he 
has  in  his  possession)  to  give  above 
light?  4.  How  can  he  ascertain  steam 
pressure  without  a  gauge  ?  "  Desperate 
Amateur,"  is  referred  to  the  "  Sale  and 
Exchange"  column  respecting  the  other 
matter  in  his  communications. 


AMATEURS  IN  COUNCIL. 


415 


"Amateur  Work,  Illustrated,"  etc. 

H.  Aubrey  Husband,  M.D.,  Watva- 
nesa,  Manitoba,  writes: — "  I  have  to 
thank  you  for  your  reply  to  my 
last  letter.  No  one  wishes  more 
success  to  your  paper  than  I  do ;  I 
read  it  from  cover  to  cover.  I  send 
you  an  advertisement  of  a  very  useful 
tool  made  by  J.  H.  Hoague,  Chicoopee, 
Mass.,  U.S.A.  I  have  just  written  to 
the  maker,  telling  him  that  I  have  sent 
you  a  sketch  of  the  tool ;  it  may  inform 
him  of  Ahateub  Work.     By  the  bye, 


can  you  give  any  instructions  how  to 
make  articles  out  of  horns — cups,  combs, 
etc.  ?  All  the  horns  are  thrown  away 
here  ;  many  very  fine  ones.  How  are  the 
horns  softened  and  flattened  and  cut 
into  combs  ?  In  printing  recipes, 
would  you  kindly  see  that  the  modern 
scientific  terms  are  given  for  the 
ingredients  in  French  berries,  sal 
soda.  Technical  dictionaries  with 
obsolete  terms  are  rare  in  the  colonies 
and  dealers  very  ignorant  of  their 
business.  Some  books  of  "workshop 
receipts"  have  too  much  the  air  of 
scissors  and  paste.  French  berries  are 
the  Rhamnus  iafectorzovs,  as  given  by 
Bentley.  Again,  there  is  plenty  of  clay 
around  me,  but  how  am  I  to  diagnose 
between  '  fire  clay,'  '  brick  clay,'  and 
'  flower-pot  clay  '  ?  Some  years  ago,  I 
was  in  the  habit  of  watching  some 
flower-pot  makers  in  the  Green  Lanes 
close  to  Finsbury  Park.  How  am  I  to 
distinguish  the  proper  clay?  In  the 
banks  of  the  Souris  River,  near  me, 
there  is  a  soapy  subitance  which,  when 
washed  down  by  the  river,  give6  a 
lather  by  the  side  of  the  banks.  In 
many  places  there  is  a  heavy  blue  clay 
full  of  fossils.  In  a  country  peopled 
by  the  farm  labourers  of  England  and 
the  '  hired  man '  of  Ontario,  the 
rudest  attempt  is  a  work  of  art.  Help 
ua  to  make  these  rude  '  attempts,'  and 
thus  'elevate  the  masses '!!  There 
is  a  good  deal  of  rough  ingenuity 
among  the  people  here,  and  I  find  my 
poor  attempts  copied.  What  has 
become  of  Williamson's  turning  lessons  ? 
1  am  looking  out  with  deep  interest  for 
the  Rev.  Iff.  Dwyer's  papers.     I  hope 


that  he  will  remember  that  we  are  very 
ignorant  and  stupid  out  here.  I  am 
afraid  that  my  letter  will  not  interest 
you  much — half  complaints  you  may 
say.  But  few  wish  long  life  and  success 
to  Ajiateub  Work  more  than  I  do ;  to 
me  it  forms  the  connecting  link  between 
civilisation  and  an  almost  semi- 
barbarism.     Au  recoir. 

"  P.  S. — How  are  bones  prepared  for 
turning  table-napkin  rings  ?  Are  the 
bones  boiled  or  soaked  in  any  pre- 
paration to  remove  grease  ?  " 

[You  will  be  pleased  to  know  that 
your  letter  evincing  such  good  feeling 
toward  Amateur  Work  interested  me 
greatly,  and  the  half  complaints  you 
discern  in  your  writing  were  passed 
over  by  me  unnoticed ;  but  the  matters 
you  refer  to  shall  be  prevented,  and  no 
doubt  some  of  our  subscribers  will 
reply  to  the  queries  your  letter 
contains. — Ed.] 

Safety  Bicycle. 

"  Dabbler." — Take  my  advice,  and 
do  not  "  dabble  "  in  such  a  matter  as 
bending  the  seat  pillar  of  your 
"safety."  The  pillar  would,  in  the 
first  place,  have  to  be  removed  from 
the  machine,  thus  destroying  the 
brazed  joint.  Then,  before  you  could 
do  anything  toward  altering  its  shape, 
the  tube  would  have  to  be  loaded  or 
filled,  and  annealed  by  placing  in  the 
furnace  until  blood  red,  and  cooled 
very  gradually  by  placing  in  the  ashes. 
As  an  alternative,  may  I  suggest  that  a 
wedge  inserted  under  the  saddle  at  the 
front  would  tilt  the  seat  sufficiently  to 
give  the  improvement  you  seek  to 
obtain.  Anyhow,  unless  you  are  fully 
proficient,  or  are  prepared  to  view  with 
equanimity  a  catastrophe,  let  a  pro- 
fessional do  the  bending  part  for  you. 
Club  for  Bookbinders. 

H.  Berry  writes: — "Knowing  your 
kindly  interest  in  helping  amateurs 
who  are  trying  to  help  themselves,  1 
am  induced  to  ask  if  you  will  find  a 
corner  for  the  following.  Seeing  the 
interest  that  is  being  taken  in  Mr. 
Morton's  occasional  articles  on  '  Home- 
made Tools  for  Amateur  Bookbinders,' 
it  has  been  proposed  to  form  a  club  or 
society  of  amateur  bookbinders,  onf 
object  being  the  '  interloan  '  (to  coin  a 
word)  of  finishing  tools,  type,  etc. 
Will  all  interested  in  the  above  writi 
to  me  at  50,  Lord  Street,  Jarrow-on- 
Tyue. 


Violin  Making. 
"  Leslie  Thain  "  communicates  the 
following  : — "  With  your  articles  on 
'  Violin  Making,'  which  appeared  some 
years  ago,  I  began  to  construct  violins, 
and  became  quite  '  Strad.  mad.'  I 
succeeded  tolerably  well  in  every 
detail  except  the  varnishing.  I  ex- 
perimented incessantly  myself  on  the 
basis  of  anilines  and  various  gums, 
but  obtained  no  good  results.  I, 
however,  became  acquainted  with 
Whitelaw's  varnish,  and  now  advise 
every  amateur  fiddle  maker  to  give  up 
making  varnish,  and  use  Whitelaw's. 
Those  persons  who  have  seen  the 
cremonese  varnish  of  its  palmy  days, 
will  recognise  at  once,  what  I  have 
never  seen  in  any  other  varnish,  and 
which  is  characteristic,  viz.,  that  fiery 
micaceous  appearance.  Moreover,  it 
is  of  such  consistence  that  it  is  easy  to 
apply.  Except  Whitelaw's,  I  have 
never  seen  any  specimen  fit  to  be  com- 
pared with  the  real  thing. 

Utilising  Sewing  Machina  Stand. 

"  J.  S.  B." — I  am  afraid  the  12-inch 
wheel  of  a  sewing  machine  would  be  of 
very  little  service  in  driving  a  3-inch 
centre  bench  lathe ;  a  wheel  double 
the  diameter,  at  least,  would  be 
required.  If  you  really  wish  to 
utilise  the  stand,  I  would  leave  it  as  it 
is,  and  screw  a  small  lathe  of  about 
lj  or  2  inches  centre  on  the  top.  A 
beautiful  little  model  lathe,  which 
would  be  very  useful  in  turning  small 
articles  about  1  inch  thick,  could  be 
thus  driven.  If  you  want  a  good 
useful  bench  lathe,  your  best  plan 
would  be  to  hang  a  wheel  at  the  left- 
hand  end  of  your  carpenter's  bench,  and 
drive  with  that.  I  can  get  old  wheels 
of  mowing  machines  at  Is.  each,  which 
are  most  suitable.  If  you  decide  to 
make  a  lathe  for  the  stand,  I  shall  be 
most  happy  to  help  you  in  any  way  in 
my  power. — J.  L.  Dwyer. 

Brass  Fittings  for  Boat. 
H.  Berry  writes: — "In  reply  to 
'  Dingey,'  I  copy  the  following  ad- 
dresses from  'The  Model  Yachtsman 
and  Canoeist ' — R.  J.  Turk,  Boat  and 
Canoe  Builder,  Kingston-on-Thames ; 
Charles  Bathurst,  Boat  and  Canoe 
Builder,  Tewkesbury  ;  Theo.  Smith, 
Medley,  Oxford.  I  would  try  the  latter 
first,  as  he  advertises  '  Improved 
Fittings.' " 


416 


AMATEURS  IN  COUNCIL. 


American  White  Wood. 
J.  M.  writes  : —  "  Will  some  kind 
reader  who  knows,  enlighten  me, 
through  the  medium  of  '  Amateurs  in 
Council,'  regarding  the  correct  name 
for  the  so-called  American  white  wood. 
I  have  been  told  at  one  time  that  it  is 
tulip  wood,  at  another  that  it  is  canary 
wood  ;  but  I  should  like  to  know  which 
is  right,  seeing  that  authorities  differ 
upon  the  point." 

Hen  Coop. 
J.  S.  B.  writes  : — "  Could  any  brother 
amateur  give   working  drawings  of  a 


coop  like  the  illustration  appended  ? 
They  are  too  expensive  to  buy,  but  not 
to  make.'' 

[A  short  article  dealing  with  this 
matter  would  be  acceptable.  Can  any 
reader  furnish  one  ? — Ed] 

Technical  Series  of  Handbooks. 
"  Wm.  Scott." — I  detect  a  note  of 
regret  vibrating  through  the  opening 
portion  of  your  letter,  but  I  hope  there 
is  no  reason  for  it,  and  that  you  have 
health  and  vigour  ;  if  you  possess  theBe, 
there  is  little  need  for  despair  at  in- 
feriority of  station.  Each  one  of  us  is 
only  an  instrument  in  the  hands  of  a 
higher  power,  and  we  may  only  do  with 
our  little  might  the  work  that  is  set  for 
us  to  accomplish.  With  regard  to  the 
publication  of  a  series  of  text-books, 
each  as  a  vade  mecum  to  a  particular 
branch  of  mechanics,  I  am  afraid  the 
suggestion  must  share  the  fate  of  its 
predecessor,  and  be  diicarded.  The 
great  question  to  be  considered  is 
whether  such  an  issue  would  receive 
support  and  encouragement  sufficient 
to  ensure  against  loss  in  the  cost  of 
production.  I  think  not,  and  more 
especially  would  such  a  series  receive 
condemnation  were  it  produced  in  the 
cheap  pamphlet-like  manner  that  you 
describe.  The  want  of  amateur 
mechanics  is  pretty  well  gauged  in  a 
publication  like  "  ours,"  giving  as  it 
does  each  month  just  sufficient  matter 
for  ordinary  digestion,  and  providing 
chatty  companionship  at  the  work- 
bench  whilst    the    tools    are    in    our 


hands.  Leisure  occupation  must 
demand  no  particular  amount  of  daily 
study,  and  only  needs  occasional 
reference ;  besides,  I  tbink  that  it 
would  lose  its  charm  were  the  thought 
of  such  a  solace  as  Amateur  Woke 
mingled  with  daily  worries  that  come 
to  us  all. 

Gliding  Ivory. 
"  N.  E." —  Leaf  gold  may  be  laid 
upon  ivory,  so  as  to  adhere  pretty 
firmly,  by  the  aid  of  gold  size.  When 
the  gold  size  has  thoroughly  set,  rub 
down  with  a  smooth  object,  such  as  a 
knife-handle,  always  placing  a  piece  of 
note  paper  to  intervene  between  the 
gold  and  rubber. 

Type  for  Rubber  Stamps. 
"  Floreat  Gaulia." — You  can  obtain 
type  for  printing  a  notice  such  as  you 
mention  by  applying  to  one  of  the 
London  type-founders ;  for  instance, 
Miller  and  Richard,  Water  Lane, 
London,  E.  C. ,  or  Figgins,  Ray  Street, 
Farringdon  Road.  I  have  no  doubt 
either  of  these  firms  would  furnish  you 
in  reply  to  order  and  remittance. 
With  regard  to  the  rubber  stamp, 
communicate  with  Max  Lindner,  170, 
Fleet  Street,  London,  E.C.,  and  you  will 
obtain  what  you  require.  There  are 
various  printing  presses  introduced  for 
the  use  of  the  amateur  ;  the  "Caxton" 
is  not  very  well  known  to  me,  but  the 
Model  Printing  Press  Co.  have  a 
variety  ;  and  if  you  are  wanting  such  an 
article,  I  should  advise  you  to  write  to 
their  address,  Farringdon  Street,  London, 
E.C.,  for  a  catalogue. 

Electrical  Matters. 
"  0.  H."  —  "  Rheostat "  is  a  Freneh 
term  meaning  a  resistance  through 
which  a  current  of  electricity  is  made 
to  pass  in  order  to  control  or  diminish 
its  intensity.  In  lighting  by  electricity 
the  current  sometimes  requires  modifi- 
cation, and  rheostats  are  employed. 
The  French  word  seems  to  have  been 
generally  adopted  by  English  electri- 
cians, and  I  do  not  think  they  have  yet 
coined  an  equivalent. 

Article  on  Soldering. 
L.  Lowther. — Your  MS.  on  soldering 
reached  me  safely,  but  as  it  is  not  my 
custom  to  acknowledge  articles  unless 
a  stamped  envelope  be  enclosed,  you 
did  not  hear  from  me.  The  other 
matter  you  refer  to  in  your  letter  shall 
receive  attention. — Ed. 


Vulcanite. 
W.    Gartside    writes  : — "  Uan    you 


Fretwork  Designs. 
C.  E.  K.  Ludhiana  (N.  India).— 
Your  designs  reached  me  safely,  and  in 
my  opinion  tbey  are  very  effective  and 
pretty ;  but  can  you  not  supplement 
these  designs  by  descriptive  letterpress 
matter?  They  must  have  description 
attached  to  them  before  being  published 
in  the  pages  of  Amateur*  Work, 
Illustrated. 

:-|a 

give  me  the  name  and  addresB  of  any 
good  maker  of  vulcanite,  preferably 
one  who  makes  castings  of  the  'same  ? 
Any  information  relating  to  the  above, 
with  probable  price  of  material,  will 
be  esteemed." 

Greenhouse. 

F.  Humphrey  writes : — "  I  shall  feel 
obliged  to  you  or  any  of  your  readers 
if  they  mil  kindly  give  me  full 
particulars  how  to  build  a  span  roof 
portable  greenhouse,  15  feet  by  9  feet 
by  5  feet  6  inches  at  eaves,  showing  the 
thickness  of  timber  to  be  used,  and  how 
the  joints  should  be  made." 
Bursoolah. 

J.  S.  B.  writes : — "  Can  any  reader 
of  Amateur  Work  tell  me  where  I  can 
get  a  bursoolah  (pp  481,  Vol.  V.)  made, 
and  probable  cost.  Also  the  copper 
cup  of  the  blow-pipe  (pp  22,  Vol.  III., 
New  Series)." 

Simplex  Glazing. 

J.  S.  B.  writes : — ' '  Have  any  of  our 
readers  ever  used  the  simplex  glazing 
supplied  by  Grover,  City  Road, 
London  ?  25s.  per  100  feet  does  not 
seem  dear,  as  one  can  do  one's  own 
repairs  at  once,  and  first  cost  is  all." 
Incubator. 
"  Quill."  —  In  "  Amateurs  in 
Council,"  Part  16,  Vol  II  (Old  Series), 
there  are  two  incubators  described.  No 
doubt  you  will  find  either  of  these 
communications  of  service  to  you. 

Erratum. 
"  Some  Chapters  on  Simple  Orna- 
mental Turning." — In  Fig.  8,  page 
297,  Part  30  of  Amateur  Work,  the 
square  part  of  the  shank  should 
be  ^  inch  square,  not  -}  inch  as  there 
shown. — J.  L.  Dwyer. 


LETTERS  RECEIVED  UP  TO  JUNE  10. 
J.  Taylor   [Harrow    Weald) ;  C  H. 
Pritchard  ;  James  M.  Hay  (PeterJmgif 
N.B.). 


PRESENTED    WITH    ".MATEUR    WORK.    ILLUSTRATED,"    PART    TTTTTT TTT     iNewSsrleuj,      AUGJST,    1891 


; 

I"; 


■    , ••-•■-•'■ 


HOW  TO  MAKE  A   HALL-STAND. 


417 


HOW  TO  MAKE  A  HALL=STAND. 

By  "  ONE  OF  THE  CROWD:' 

HE  illustrations  show  a  simple  design 
for  a  hall-stand,  which  should  recom- 
mend itself  to  anyone  having  even 
but  a  slight  knowledge  of  carpentry,  as  well  as 
to  those  more  advanced  in  the  "art."  The 
design  is  taken  from  one  I  made  a  few  years 


by  so  doing  one  is  able  to  save  considerably,  the 
idea  being  to  make  things  useful,  and  of  good 
appearance,  at  the  least  possible  cost.  Then, 
again,  the  amateur,  as  a  rule,  does  not  pos- 
sess what  might  be  called  a  complete  set  of 
tools,  though  it  is  not  easy  to  define  what  a 
perfect  or  complete  set  consists  of  ;  but.  anyhow, 
he  has  to  make  a  few  tools  answer  the  purpose 
of  manj',  and  the  accompanying  illustration  is 
suitable  for  such  an  one. 


rlC.3 
Jfjrkawoat  far 
tenons 


A 

A 

": 

c 

U        D         LJ 

F IG.2.  Framing  of }>ack 


ric.l.  HaE  stand. 


~1 


FIC*. 
Fkai  cf  idnctray 


FIC.5.  Section. of  xaw  1ray 


r 


I 


ago,  when  first  starting  housekeeping,  and  is 
well  adapted  for  narrow  halls,  as  it  only  stands 
out  about  12  inches,  and  the  cost  of  making 
same  (not,  of  course,  including  the  time 
occupied  in  so  doing,  as  no  amateur  takes  this 
into  consideration)  may  be  calculated  not  to 
exceed  ten  shillings,  which  includes  the  silvered 
glass,  hat  and  coat  hooks,  drawer  handle — in 
fact,  everything.  The  cost  in  amateur  work  is 
generally  a  great  consideration  (judging  others 
by  myself},  and  it  adds  greatly  to  the  pleasure  of 
making  anything   for  the    home  to  know  that 

Vol.  III.  (New  Series).— Part  33. 


Now,  how  to  make  it.  The  first  thing  to 
consider  is  what  wood  to  make  the  hall-stand 
of.  Personally,  I  use  ordinary  deal,  or,  better 
still,  yellow  pine,  for  any  work,  and  prefer 
the  latter,  as  it  can  be  obtained  free  of  knots, 
though  where  an  article  is  to  be  eventually 
painted  or  enamelled,  knots  do  not  so  much 
matter ;  however,  in  this  present  design  I  used 

i  yellow  pine,  and  can  recommend  it.  First,  then, 
prepare  the  pieces  for  the  back,  for  which  the 
wood  should  be  of  1  inch  stuff,  which,  as  most 

1  amateurs  know,  means  about  £  inch  when  planed 

VOL.  III.  (N.S.) L   L 


418 


HOW  TO  MAKE  A   HALL-STAND. 


down  ;  but,  as  my  idea  is  to  -write  this  article  for 
the  unskilled,  as  well  as  the  skilled,  the  latter 
must  make  allowance  for  these  minor  details 
being  given.  To  proceed  :  the  two  uprights,  a, 
measure  6  feet  6  inches  long  by  4  inches  wide,  the 
top  and  bottom  rails  2  feet  2  inches  long  (when 
fitted)  by  4  inches  wide,  the  middle  rail  the 
same  length,  but  6  inches  wide.  These  three 
rails  are  mortised  into  the  uprights,  as  follows : 
ItailB,  1£  inches  from  the  top ;  rail  c  (middle  rail), 
3  feet  3  inches  from  the  bottom ;  rail  u,  right  at 
the  bottom. 

In  Fig.  2,  I  give  a  drawing  of  the  back,  only 
showing  the  positions  and  lengths  of  the  tenons, 
by  which  it  will  be  seen  their  length  is  but  half 
the  width  of  the  uprights  or  rails,  into  which 
they   are  mortised,  except   in   the  case  of   the 
tenons    in   the   middle    rail,    which   need    not 
exceed  1   inch   in  length.     The  tenons  will  be 
found  sufficiently  long,  providing  they  fit  tight, 
and   this   can   only   be   done   by   marking   the 
mortises  and  tenons  out  by  the  aid  of  a  gauge, 
and  keeping  strictly  to  each  mark  in   cutting 
out  the  mortises,  and  slightly  outside  the  marks 
when  sawing  the  tenons.     For  wood  f  inches 
thick  set  the  gauge  \  inch,  and  mark  the  wood 
from   both    sides  (see   Fig.    3).      This   applies 
equally  for   mortises   as   well   as   tenons.     By 
referring  again  to  Fig.  2,  it  will  be  seen  the 
tenons  are  not  so  wide  as  the  rails,  upon  which 
they  are  cut,  and  for  a  general  rule  all  through, 
allow  \  inch    shoulder    either    side,   except   in 
bottom  rail,  d,  where  the   shoulder  is  upon  one 
side    only,  and   that  1  inch  instead  of  \  inch. 
The   centre    uprights   are    2   inches   wide,  and 
mortised   into   top,    bottom,    and  middle   rails, 
5  inches  from  the  outside  uprights,  which  will 
leave   a  centre  space  of    12  inches.     The  cross 
rails,  which  go  to  make  up  the  frame  for  looking- 
glass,  are  of  the  same  width ;  and  if  the  foregoing 
measurements  are  followed  strictly,  they  will  be 
1 2  inches  long  when  fitted.     Make  all  the  tenons 
and   mortises,    and   fit    nothing   together    per- 
manently till  the  back  is  completely  made,  and 
every  part  fits  well. 

There  is  a  great  tendency  on  the  part  of 
amateurs  to  hurry  over  their  work,  in  order  to 
see  the  effect  when  finished ;  but,  depend  upon 
it,  the   results   are   not   so  gratifying  as  they 


would  be  were  due  time  given  to  each  part  in 
its   turn ;    and   to   use  the  words  of   the  well- 
known  adage,  "  What  is  worth  doing  at  all,  is 
worth  doing  well,"  should  be  impressed  strongly 
on  the  mind  of   the  amateur,  and  be   present 
in  his  thoughts  when   at  work.      It  is  a  very 
strong  point  indeed,  and  the  best  of  us  are  apt 
to  forget  it  in  our  anxiety  to  behold  the  labour 
of  our  hands.     Having  fitted  the  back  together, 
the  parts  that  form  the  frame  for  looking-glass 
must  be  taken  out,  and  rebated  at  the  back  to 
take   the   glass.      Most   amateurs   know    what 
this    means,    it    being    a    right-angled    piece, 
taken  out  of  the  wood  at  the  back  on  the  inside 
edge,  to  allow  the  glass  to  fit  in.     The  rebate 
should  be,  say,  |  inch  by  \  inch.      The  glass 
will  probably  be  f  inch  thick,  and  will  require 
blocking  at  the  back,  to  keep  it  from  rattling, 
and  a   thin  back   of  wood  fixed  on  the  back, 
similar    to    an    ordinary    looking-glass.      The 
appearance     of     the    glass     would     be     much.  ' 
improved  by  having  bevelled  edges  f  inch,  but 
this  will  add  to  the  cost  ;  the  .bevelling  would 
be  as  much  as  the  glass  itself;  of  course,  it  is 
optional.      Having    procured    the    glass,    and 
assuming  it  fits  the  rebate,  take  it  out  of  the 
frame  until  the  stand  is  completely  finished. 

The  bottom  of  stand  is  2  feet  10  inches  long, 
11  \  inches  wide,  and  |   inch  thick,' with  three 
blocks  of  wood,  screwed  on  underneath,  1  inch 
thick,  to  raise  it  from  the  ground  ;  these  blocks 
should  be  4  inches  square.     If  made  of  yellow 
pine,  it  will  be  easy  to  get  wood  the  required 
width,  thus  saving  a  join;  but  if  ordinary  deal 
is  used,  it  will  be  better  to  reduce  the  width 
of  bottom  board  1  inch ;  board  1 1  inches  wide 
will  do,  this  being  the  widest  deal  board,  the 
width   of   deal  being  generally   9   inches    and 
1 1  inches,  called  deals  in  the  9  inches,  and  planks 
in  the  1 1  inches.     In  the  bottom,  cut  two  holes 
6  inches  square,  and  1\  inches  from  the  front 
and  side  edges ;  these  are  for  zinc  trays,  which 
should  be  made  to  fit  loosely,  so  as  to  be  removed 
when    necessary,    and   should   have   a   \   inch 
flange  round  them  at  top,  to  keep  them  in  their 
places ;  these  will  cost  about  a  shilling  to  get 
made,  unless  the  amateur  is  capable  of  making 
them  himself,  in  which  case  get  two  pieces  of  , 
moderately  stout  zinc  8  inches  square,  cutting 


HOW  TO  MAKE  A   HALL-STAND. 


•J19 


out  a  piece  at  each  corner  2  inches  square,  which 
will  leave  an  inside  centre  6  inches  square,  which 
forms  the  bottom  of  tray ;  then  turn  up  the  four 
sides  to  make  the  sides  at  the  thick  dotted  lines 
(see  Fig.  4),  and  turn  them  back  again  at  the 
thin  dotted  lines,  to  make  the  flange ;  then 
solder  the  sides  together  with  tinmen's  solder, 
using  pure  spirit  of  salts  to  clean  the  metal 
ready  for  the  solder.  Fig.  5  shows  section  of  a 
tray,  which  should  be  1^  inches  deep,  f  inch 
flange. 

The  bottom  is  fixed  to  the  back  with  long 
screws,  1  inch  from  the  bottom  of  back ;  this 
will  make  the  bottom  level,  there  being  1  inch 
blocks  underneath  at  the  front. 

The  brackets  to  support  the  drawer-box 
should  next  be  made ;  these  measure  7  inches 
each  way,  and  f  or  f  inch  thick,  the  pattern  (see 
Fig.  6)  being  cut  out  by  means  of  a  frame  saw. 
These  are  fixed  to  the  two  lower  short  up- 
rights, the  tops  of  brackets  being  on  a  line 
with  the  bottom  edge  of  middle  rail.  The  box 
for  drawer  is  16  inches  long,  5  inches  deep, 
10  inches  back  to  front  (outside  measurements), 
the  bottom  and  sides  being  of  i  inch  wood,  the 
top  |  inch.  The  three  sides  of  the  top  should 
be  finished  off  in  some  way,  either  by  a  chamfer 
or  a  moulding,  to  give  it  a  better  appearance, 
in  which  case  it  would  be  as  well  to  increase  the 
measurements  of  the  top  J  inch  on  each  three 
sides,  making  it  overlap  the  sides  and  front 
J  inch.  To  simplify  matters,  the  sides,  which 
are  4  inches  high,  can  be  fixed  to  the  bottom 
with  French  nails  from  underneath;  the  top 
should  not  be  fixed  till  later  on,  as  I  will  show. 
Having  fixed  the  sides  to  the  bottom,  proceed  to 
fix  the  latter  on  to  the  brackets  ;  two  screws  in 
each  bracket  will  hold  it  firmly.  The  centre 
upright,  f,  is  not  to  support  the  drawer-box, 
but  solely  to  prevent  any  forward  motion  of  the 
stand  when  completed.  It  measures  about  2  feet 
7i  inches  high,  3  inches  wide,  J  inch  thick.  It 
should  be  let  in  the  bottom  \  inch  deep,  and  the 
top  screwed  to  the  bottom  of  drawer-box,  taking 
care  that  the  heads  of  the  screws  do  not  protrude 
so  as  to  interfere  with  the  sliding  of  the  drawer 
in  and  out. 

This  upright  should  be  fixed  in  a  line  with  the 
uprights  for  the  umbrella  rails,  which  stand  out 


9  inches  from  the  back,  and  a  small  moulding 
can  be  fixed  at  the  bottom  (as  shown  in  Fig.  1), 
and  two  small  pieces  at  the  top,  of  the  same 
pattern  as  the  brackets.  As  these  are  only  for 
ornamentation,  glue  will  be  found  sufficiently 
strong  to  fix  these  pieces  ;  at  same  time  glue  the 
upright  into  the  bottom  of  stand,  and  be  sure 
that  it  fits  tightly.  The  uprights  for  umbrella 
rails  measure  2  feet  10|  inches  long,  which 
allows  \  inch  for  letting  into  the  bottom,  and 
are  fixed  opposite  the  middle  of  the  uprights,  a, 
9  inches  from  back,  in  a  line  with  the  centre 
upright.  They  are  1  inch  square,  and  can  be 
much  improved  by  running  a  bead  moulding 
on  each  of  the  four  sides,  by  means  of  a  "  bead 
router "  ;  or  if  this  is  not  accessible,  slightly 
chamfer  the  edges. 

The  rails  are  \  inch  by  1  inch  stuff,  and  are 
finished  off  in  character  with  the  uprights.  The 
side  rails  (two  each  side)  are  9  inches  long, 
and  the  front  rails  7  inches  long.  These  are 
let  into  the  uprights  and  back,  and  also  the  sides 
of  drawer  box  f  inch,  and  glued ;  this  will  keep 
them  all  quite  rigid.  Allowance  must  be  made 
when  cutting  out  the  rails  for  the  f  inch  each 
end  to  be  let  in,  the  only  thing  remaining  to  be 
made  being  the  drawer. 

According  to  the  size  given  for  its  case,  the 
drawer  is  of  fairly  good  size — at  all  events, 
sufficiently  large  to  keep  the  clothes  and  hat 
brushes  in.  It  is  hardly  necessary,  I  think,  to 
describe  how  to  make  a  drawer,  but  if  the 
amateur  does  not  know,  let  him  take  his  copy 
from  a  chest  of  drawers.  Do  not  attempt  to 
rail  it  together.  The  top  of  drawer-box  can 
now  be  fixed,  and  to  do  so,  a  few  thin  wire  nails 
with  their  heads  off  will  do  well,  and  if  punched 
in,  will  not  be  noticed. 

Now,  with  regard  to  the  finish,  it  is  difficult 
to  know  what  the  amateur's  taste  may  be ;  some 
prefer  enamel,  some  varnished  only  on  the 
natural  wood,  whilst  others  may  prefer  a  darker 
colour ;  so  I  think  the  best  way  is  to  give  par- 
ticulars how  mine  was  finished,  and  with  which 
finish  I  am  perfectly  satisfied  up  to  the  present 
time.  First,  then,  well  sandpaper  the  work, 
taking  great  care  that  all  rough  places  are 
removed ;  then  stain  with  dark  oak  stain.  I 
can   confidently   recommend   Jackson's   powder 


420 


REVOLVING  BOOK  CABINETS. 


stain,  which  is  mixed  with  hot  water,  ac- 
cording to  instructions  given  with  it,  and 
either  a  dark  or  light  stain  thus  obtained, 
according  to  the  quantity  of  water  put  with 
it.  Having  given  one  coat  of  this,  which  soon 
dries,  use  the  sandpaper  again,  and  then  apply 
a  second  coat,  and  a  third  if  not  dark  enough  ; 
but  two  coats  will  give  the  wood  the  appearance 
of  walnut,  after  which  I  rubbed  in  boiled 
linseed  oil,  which  takes  off  the  extreme  dulness  ; 
and  at  any  future  time,  a  little  oil  again  rubbed 
in  makes  the  stand  look  as  good  as  new.  I 
certainly  prefer  this  to  varnish.  Four  brass 
hat  pins  (two  on  each  upright),  and  a  similar 
number  of  brass  wardrobe  hooks,  screwed  on 
the  sides  for  coats,  and  a  brass  handle  for  the 
drawer,  will  complete  the  hall-stand. 

I  think  most  amateurs  will  confess  there  is 
nothing  difficult  in  the  construction ;  its  cost  is 
nominal,  but  its  appearance  is  good,  if  plain.  I 
can  confidently  say  this,  as  mine  has  been 
subject  to  severe  criticism,  which  amounted  to 
very  little  fault-finding. 


REVOLVING  BOOK  CABINETS 

AND  HOW  TO  MAKE  THEM. 
By  CLERICUS  SECUNDUS. 


III.— Adaptability  of  Revolving  Cabinets— Substi- 
tutes for  Rails  —  Decoration  —  Provision  for 
Folios  and  Large  Volumes. 


S]HE  object  of  this  paper  is  to  give 
details  of  cabinets  differing  in  some 
respects  from  the  one  described  in  the 


last  article,  the  possible  variations  being  so  far 
numerous,  that  everybody  ought  to  be  able  to 
get  something  to  his  taste.  It  will  not  be 
necessary  to  spend  much  time  over  the  mere 
alterations  of  detail,  and  these  will  simply  be 
mentioned  before  we  pass  on  to  some  modifica- 
tions of  construction.  Of  course,  the  cabinet 
can  be  made  of  any  requisite  height.  For 
instance,  the  amateur  whose  space  is  limited  can 
adopt  the  Dutchman's  plea,  on  behalf  of  his  tall 
house,  that  "land  is  sheap  up  dere,"  and  go 
on  adding  shelves  until  he  needs  a  step-ladder 
to  reach  his  books ;    or,   again,   a  very  handy 


little  article  may  be  made  with  one  (or,  at  most, 
two)  rows  of  books  to  stand  on  the  desk  or 
table.  So  much  for  height.  As  regards  breadth, 
the  room  for  variation  is  more  limited.  The  reader 
will  do  well  to  remember  the  following  rule : — 
If  the  length  and  breadth  of  the  shelves  are 
exactly  equal,  there  is  no  wasted  space  in  the 
centre,  and  a  horizontal  section  of  the  framework 
of  the  cabiuet  would  show  a  cross,  with  arms 
of  equal  length,  and  at  right  angles  to  each 
other.  On  the  other  hand,  every  inch  added  to 
the  length  of  the  shelf  is  equalled  by  so  much 
hollow  space  iu  the  centre.  Hence,  if  the  worker 
wishes  to  know  what  that  space  will  be,  he  need 
only  deduct  the  depth  of  his  shelf  {plus  the 
thickness  of  the  wood  of  the  framework)  from 
the  length,  and  the  remainder  will  give  the 
side  of  the  square  space.  So  much  for  variations 
in  point  of  size. 

The  details  of  ornamentation  will  be  done 
with  almost  as  quickly.  The  cabinet  sketched 
in  our  last  article  (Fig.  8)  is  of  the  simplest 
kind,  the  decoration  being  left  to  the  taste  and 
imagination  of  the  worker.  A  few  words  on 
this  point,  however,  may  not  be  uuwelcome. 
Thus,  instead  of  the  plain  straight  bars,  the 
fret-saw  may  be  called  into  requisition,  and  a 
length  of  fretwork,  either  open  or  backed  by  a 
different  kind  of  wood,  may  replace  them.  Or, 
again,  the  adept  at  inlaying  or  wood-carving 
may  find  scope  for  his  talents  by  replacing  the 
bars  by  specimens  of  his  handiwork.  Nor, 
though  I  have  not  seen  it  tried,  does  there 
seem  any  reason  why  rows  of  spindles  should 
not  do  duty,  if  the  amateur  is  handy  with  his 
lathe,  and  anxious  to  demonstrate  the  fact. 
Should  this  be  the  case,  the  spindles  had  better 
be  halved,  for  various  reasons ;  the  books  will 
rest  better  against  the  flat  sides,  for  one,  and 
another  reason,  which  will  not  be  without 
weight,  unless  the  amateur  have  an  unusual 
amount  of  patience  and  enthusiasm,  is  that 
thirty-two  spindles  will  suffice  instead  of  sixty- 
four.  Should  this  method  be  chosen  by  anyone, 
he  is  recommended  to  stick  two  pieces  of  wood 
together,  with  a  piece  of  paper  between  thorn 
before  turning ;  they  will  come  apart  readily 
after  being  turned.  Of  course,  it  will  be 
necessary  to    see    that   the   lathe   centres    are 


REVOLVING  BOOK  CABINETS. 


421 


FlC  ■  lo.  Cabinet  urtA.  space  far  Polios 
3f?  2' 


«. 20" 

.      .18' , 

FIG.I3.  Frame  at  c 
(Fig.  11  J' 

FIC.I9. 

HorixonlaLSecfwn 
of  Cabinetshowina 
the  arrangement 
ofshelves 


FIG       i  6. 

'bove  botttym. 


422 


REVOLVING  BOOK  CABINETS. 


exactly  in  the  centre  of  the  line  of  junction,  or 
the  two  halves  will  not  be  equal. 

Supposing  fret-cutting  or  wood-carving  to 
be  selected,  it  is  evidently  optional  to  the 
amateur  that  the  work  be  in  one  long  piece,  or 
divided  into  as  many  sections  as  there  are 
shelves.  Again,  glass  may  be  use^,  two  frames 
for  each  side  being  made  with  rebates  on  the 
inner  edges  to  carry  the  glass.  The  width  of 
one  frame  must  equal  the  length  of  the  shelves, 
that  of  the  other  must  equal  their  breadth. 

In  the  case  of  Fig.  8,  the  frames  require  to 
be  14  inches  and  7  inches,  the  glass  being  fixed 
in  the  frames ;  the  narrower  one  must  be  fixed 
instead  of  the  bars,  and  the  other  hinged  to 
this  (or  to  the  edge  of  the  frame  of  the  cabinet), 
to  serve  as  a  door ;  when  so  arranged,  the 
cabinet  can  be  used  to  display  curiosities  or 
articles  of  virtu  instead  of  books,  and  its  appear- 
ance much  improved  by  the  use  of  bevelled 
glass.  It  is,  perhaps,  hardly  necessary  to  point 
out  that  if  so  used,  the  shelves  had  better  be 
lined. 

A  minor  detail  of  decoration  may  be  men- 
tioned, namely,  the  finishing  off  of  the  edge  of 
the  shelves  by  a  moulding  or  beading  of 
suitable  width  and  material. 

The  stand  of  the  cabinet  is  likewise  open  to 
considerable  improvement.  Any  design  for  the 
feet,  with  any  amount  of  embellishment,  may  be 
substituted  for  the  very  plain  ones  shown  in  our 
typical  cabinet.  The  nearest  furniture  shop 
will  provide  the  observing  amateur  with  hints 
and  ideas  on  this  head  (or,  rather,  "on  these 
feet ").  The  only  hint  needed  here  is  that 
enough  of  the  stand  should  be  left  level  at  the 
top  to  carry  the  revolving  apparatus — whatever 
it  be  ;  indeed,  if  the  small  wheels  be  decided 
upon,  they  should  be  as  wide  apart  as  the 
breadth  of  the  cabinet  will  allow. 

We  now  pass  on  to  the  modifications  of 
structure.  In  the  cabinet  already  described,  the 
larger  boiks  decide  the  breadth  of  the  cabinet, 
and,  perforce,  some  space  is  lost  owing  to  the 
upper  shelves  being  wider  than  is  necessary.  A 
cabinet  will  be  described  presently  where  this 
is  avoided,  even  when  there  is  a  sufficient 
number  of  large  volumes  to  require  a  whole 
shelf.     At   this  point,   I  will  mention  that  the 


illustrations,  unless  otherwise  specified,  are  drawn 
to  a  scale  of  §  inch  to  the  foot.  But  in  many 
instances  these  volumes  are  too  large,  and  too 
few  to  make  this  worth  while — a  few  atlases 
perhaps,  or  a  few  portfolios,  being  all  that  need 
accommodation.  This  may  be  provided  in  two 
ways.  If  the  space  required  in  length  and 
breadth  be  less  than  the  breadth  of  the  cabinet 
(in  this  case  2  feet  square),  they  may  lie  on  the 
top.  Turn  four  short  pillars,  or  spindles ;  erect 
one  on  each  corner  of  the  cabinet  top,  and  fix 
another  top  on  the  spindles.  Fig.  9  will  explain 
the  foregoing  idea. 

Another  plan  is  shown  at  Fig.  10.  Eeferring 
to  the  sketch  of  the  framework  (Fig.  11),  it  will 
be  seen  that  one  side  of  the  '■  core  "  (as  we  may 
call  the  enclosed  space  in  the  centre)  has  been 
removed  to  the  height  of  the  second  shelf,  and  a 
plank  of  the  same  height  fixed  at  right  angles 
to  the  backboard.  As  will  be  seen,  the  first 
shelf  on  that  side  will  only  be  7  inches  long. 
The  space  thus  provided  is  1  foot  8  inches  high, 
6  inches  across,  and  14  inches  deep.  Of  course, 
the  opening  can  be  continued  to  the  third  shelf, 
or  even  to  the  top,  and  (if  necessary)  the  other 
side  of  the  core  can  also  be  removed,  thus 
increasing  the  possible  space  to  4  feet  by  2  feet, 
or  whatever  happens  to  be  the  height  and 
breadth  of  the  cabinet.  The  easiest  way  to  carry 
out  this  alteration  will,  perhaps,  be  to  make  two 
frames  of  the  size  and  dimensions  shown  in 
Figs.  12  and  13,  the  other  two  lemaining  as 
before.  The  joinery,  as  a  whole,  being  similar 
to  that  of  Fig.  8,  need  not  detain  us  further. 

Fig.  14  shows  a  modification  of  a  different 
kind,  its  object  being  to  do  away  with  the 
stiffness  inseparable  from  unbroken  straight 
lines.  It  seems  a  simple  matter  enough  thus  to 
shift  the  compartments  holding  the  books  from 
side  to  side,  but  it  entails  a  complete  alteration 
in  the  construction  of  the  framework.  This 
construction  is  shown  tant  bien  que  mal  in  Fig.  17, 
not  with  much  success  so  far  as  clearness  is 
concerned.  The  thing  itself  is,  however,  simple 
enough.  It  will  be  necessary,  or,  at  all  events, 
easiest,  to  begin  by  making  the  "core"  alto- 
gether independent  of  the  rest  of  the  framework. 
Ascertain,  according  to  the  rule  laid  down  above, 
what  the  space  to  be  occupied  by  the  "  core  "is 


REVOLVING  BOOK  CABINETS 


423 


to  be  ;  also  the  total  height  of  the  book-shelves. 
Get  four  pieces  of  wood  of  the  length  required  ; 
two  of  them  will  have  to  be  as  wide  as  the  core 
space,  the  other  two  less  by  twice  the  thickness 
of  the  wood  employed.     Thus,  in  the  case  before 
us,  the  framework  is  of   1  inch  wood,  the  length 
of  the  shelf  is  14  inches,  and  its  breadth  7  inches. 
From  14  deduct  7  +  1=6  inehes:=the  size  of  the 
core  space.     Then,   if  the    core  is  to  be  made 
of   \    inch   wood,    which    practically   will    be 
found    sufficient,    we   shall   need    for   the  core 
the  following  wood 
—  two     pieces     6 
inches,  two  pieces 
4i  inches  wide,  by 
3    feet    If    inches 
long,     that    being 
the  total  height  of 
our  book  -  shelves. 
Let  the  core,  when 
made,    be    exactly 
square   in   section, 
the    pieces    being 
fitted  together  as  at 
a,  Fig.    19.     Next 
prepare    as    many 
pieces   of  wood  as 
you  mean  to  have 
compartments     for 
books — that  is,  four 
to  each  shelf,  and 
let  them  be  exactly 
the   length  of  the 
shelves,      and      as 
broad  as  the  compartment  is  to  be  high ;   in 
this   case   the   dimensions   are    14   inches   long 
by  10  inches,  9  inches,  8 \  inches,  and  8  inches, 
respectively,  four  of  each.     These  are  to  form 
the  framework  of  the  cabinet,  as  in  Fig.   17. 
Proceed,  then,    to  screw  them  to  the  "  core," 
beginning,   let  us  say,   from  the   bottom,    and 
fixing    the    first   four   (and   widest)   pieces   so 
that  the  left-hand  edge  will  be  flush  with  the 
left-hand  corner   of    the   core,    and  projecting 
away  to  the  right  (see  Fig.  15);  then  proceed 
with  the  next  four  (in  point  of  width),  leaving 
between  each  row  a  space  equal  to  the  thickness 
of  the  shelves — here  f   inch.     This  second  set 
mu.it  be  screwed  on  the  reverse  way  of  the  first — 


F  IC.II.  Frame  of  Fig.10.  F I.C  .17 '.Trame  oflig. 


that  is,  with  the  right-hand  edge  of  each  piece 
flush  with  the  right-hand  corner  of  the  core,  and 
projecting  away  to  the  left  (see  Fig.  16).  The 
third  set  must  be  fixed  like  the  first  (Fig.  15), 
the  fourth  like  the  second  (Fig.  16),  and  so  on, 
if  there  are  to  be  a  greater  number  of  shelves. 
Now  prepare  and  fix  the  top  and  bottom,  as  in 
the  case  of  Fig.  8. 

Before  beginning  to  prepare  the  shelves,  a 
point  requires  to  be  settled.  It  will  be  seen,  on 
reference  to  Fig.  14,  that  I  have,  for  variety's 

sake,  replaced  the 
bars  by  squares  of 
fretwork,  backed 
by  another  square 
of  wood.  It  will 
be  necessary  to 
settle  whether  these 
or  the  bars  are  to 
be  used.  Let  us 
suppose  that  fret- 
work be  decided 
upon  ;  we  will  now 
proceed  with  the 
shelves,  which  will 
require  a  little 
careful  attention. 
Always  supposing 
the  sizes  of  cabinet 
be  adhered  to,  each 
shelf  must  be 
shaped  like  Fig.  18, 
and  beof  thedimen- 
sions  figured.  The 
object  of  this,  and  the  mode  of  fixing  will,  I 
trust,  be  clear  from  Fig.  19.  It  will  be  seen 
that  the  wider  portion  of  the  shelf  comes  in 
contact  with  the  core,  and  therefore  fits  into  the 
space  left  between  the  rows  of  the  framework. 
It  will  also  be  seen  that  each  shelf  projects 
\  inch  to  the  left  beyond  the  core ;  this  causes 
the  end  to  bear  upon  the  frame  beneath,  which, 
being  1  inch  thick,  supports  the  portion  of  the 
two  shelves  which  bear  upon  it  (see  Fig  19, 
where  the  frame  beneath  is  indicated  by  dotted 
lines).  The  dotted  lines  at  the  end  of  each 
shelf  mark  where  the  squares  of  fretwork  are  to 
stand.  By  this  means,  the  necessity  of  ledgers 
is  done  away  with,  the  shelves  being  sufficiently 


424 


METAL-TURNING. 


supported  ;  they  must  be  glued  into  the  space 
between  the  parts  of  the  framework,  and 
against  the  core,  and  screwed  to  those  parts  of 
the  framework  upon  which  they  rest.  Should 
this  appear  too  complicated  (it  is  not  really  so 
in  the  working  out),  the  amateur  must  make  the 
three  lower  sets  of  his  frames  f  inch  wider  than 
the  sizes  given,  and  so  do  away  with  the  space 
between  them.  His  shelves  will  then  have  to  be 
14£  inches  by  7|  inches,  and  be  supported  on 
ledgers,  as  in  the  case  of  Fig.  8.  If,  however 
(as  is  strongly  recommended),  the  plan  figured 
be  adopted,  the  shelves  must  be  15  inches  long 
by  %\  inches  wide  at  their  widest  part,  which, 
however,  only  extends  for  6|  inches,  the 
remaining  8£  inches  being  8  inches  wide. 

Should  the  use  of  bars  be  decided  on,  the 
shelves  must  be  \  inch  less,  both  in  length  and 
breadth,  and  as  the  bars  come  outside  the 
end  of  the  shelf,  their  lengths  for  each  row 
must  be  \\\  inches,  10£  inches,  10  inches,  and 
9  inches,  respectively.  The  squares  of  fretwork 
will  require  to  be  8£  inches  broad ;  their  height 
must  be  exactly  equal  to  the  space  between  the 
shelves  as  (contrary  to  what  is  done  with  the 
bars)  they  stand  upon  the  shelves,  and  flush  with 
the  ends  thereof.  Their  height  must,  therefore, 
be  10  inches,  9  inches,  8|  inches,  and  8  inches 
for  each  shelf,  respectively — four  of  each  size,  of 
course.  Their  breadth  [%\  inches)  will  allow  of 
their  completely  masking  the  edges  of  the 
framework,  and  they  must  be  fixed  by  screws, 
driven  through  the  shelves  top  and  bottom  (and 
countersunk),  other  screws  or  pegs  fastening 
them  to  the  edges  oE  the  framework,  which  they 
conceal. 

The  remainder  of  the  work  is  common  to  all 
the  cabinets,  and  so  needs  no  further  description. 

As  already  pointed  out,  in  all  cabinets  similar 
to  those  hitherto  described,  the  largest  volumes 
decide  the  breadth  (and  hence  the  length)  of  the 
shelves,  and  some  space  is,  perforce,  wasted, 
owing  to  the  upper  rows  of  shelves  being 
needlessly  wide. 


To  Remove  Vaenish  from  a  Negative,  soak 
well  in  methylated  spirit,  and  when  soft  rub 
with  a  pad  of  cotton  wool ;  if  necessary,  apply 
more  methylated  spirit  until  removal  is  effected. 


METAL-TURNING. 

By  A  FOREMAN  PATTERN-MAKER. 


V.— Slotted  Face-plate— Bolts  and  Dogs — Turning 
Eccentric  Sheaves — Single  Sheave— Lining  Out 
— Chucking-plates— Double  Sheave. 

P^5?||HIS  article  will  be  occupied  with  illus- 
f  fill  H  trati°ns  °f  work  turned  on  slotted 
|J|g||     face-plates.  I  need  not  illustrate  these 


very  common  forms  of  chucks.  The  arrangement 
of  the  slots  is  not  of  importance.  In  small 
chucks,  a  few  are  of  oblong  form,  and  a  few  are 
square.  They  are  arranged  radially,  and  are  as 
numerous,  and  put  as  close  together  as  possible, 
consistently  with  the  due  maintenance  of  the 
strength  of  the  plate.  Common  bolts  are  mostly 
used  for  securing  work  directly  to  these  plates, 
but  in,  perhaps,  the  majority  of  instances, 
special  forms  of  dogs  have  to  be  used. 

When  simple  bolts  are  used,  they  pass  through 
any  convenient  holes  that  happen  to  be  in  the 
casting  or  forging,  or  between  suitable  open 
spaces.  Fig.  13  illustrates  the  latter  case,  a  is 
fly-wheel  casting,  that  is  chucked  on  the  plate 
b,  ready  for  turning  and  boring.  Two  bolts, 
c  c,  pass  between  arms,  and  through  slots  in  the 
plate,  taking  their  bearing  on  the  back  of  the 
plate,  and  against  the  faces  of  the  washers,  d  d. 

Another  way  in  which  bolts  are  used  is  shown 
at  the  right-hand  side  of  Fig.  14.  a  is  one  of 
the  bolts  that  hold  the  flange  of  the  cylinder,  b; 
on  the  face-plate,  c.  There  is  a  packing  block, 
d,  of  the  same  thickness  as  the  flange,  b.  A 
stiff  washer-plate,  e,  is  bridged  from  d  to  b,  and 
the  nut  of  the  bolt,  a,  is  screwed  down  upon  this. 
Fig.  14  also  shows  a  method  by  which  work  may 
be  secured  on  a  slotted  face-plate  with  dogs,  f. 
Each  dog  has  a  screwed  tail  and  nut,  a.  A 
pinching  screw,  h,  is  tapped  into  the  body  of  f, 
to  press  against  the  work.  The  dogs  are  bolted 
through  any  holes  that  happen  to  come  in  the 
positions  most  convenient,  and  the  pinching 
screws,  h,  are  adjusted  and  set  against  the 
edges  of  the  work.  There  are  other  forms  of 
dogs,  and  other  methods  of  securing  work,  but 
these  two  are  by  far  the  most  common  and 
most  useful. 

As  in  previous  articles,  suppose  we  now  take 
two  or  three  practical  examples,  and  make  them 


METAL-  TURNING. 


425 


the  vehicles  for  our  remarks.  Take  an  eccentric 
sheave.  This  is  a  very  common  piece  of  work, 
but  one,  moreover,  in  which  nice  accuracy  is 
required.  It  is  usual,  though  not  essentially 
necessary,  to  bore  the  hole  before  turning  the 
periphery.  There  is,  however,  an  advantage  in 
doing  so,  as  we  shall  see  presently.      Suppose, 


may  exist  between  metal  available  for  turning 
the  circumference,  b,  and  boring  the  hole,  c, 
shall  be  averaged,  so  that  sufficient  metal  shall 

|  be  left  in  the  scantiest  places,  both  for  boring 
and  for  turning.  I  have  purposely  drawn  the 
lines  to  indicate  the  presence  of  such  inaccuracy. 

J  More  or   less  of   this  will  inevitably  occur  in 


:       j  ' 

Q- 

i  \7b7 

A 

E 
-•© 

j*  O  >: 
i  !               !        I            A         !  i    | 

I1IHIIIII 

c 

j  FIG.  16. 

; 

wm 


"  ;     ■     'II  ITTTTTT 


nil  liui  1 1 1 1 1  I 


"HI1;.'.' 'I.1  ■: '. '.'.'.  ■    ".' ' '■/.i.l,'.ll,i! 

mm 


JllllHllll 


FIG. 15 


Fl C.20 


then,  we  have  the  rough  casting  of  the  sheave, 
the  first  step  is  to  mark  or  line  it  out.  (It  is 
shown  at  this  stage  in  Fig.  15.)  The  face  of  the 
casting  being  first  whitened  over,  and  the  rough 
cored  hole  filled  with  a  bridge  of  wood,  the 
centre  line  is  scribed,  and  the  distance,  a,  equal 
to  the  throw  of  the  sheave,  measured  off.  This 
must  be  so  measured  that  whatever  insufficiency 


rough  castings.  The  circles  that  indicate  the 
turned  and  bored  diameters  are  centre-popped, 
as  shown,  in  case  of  partial  effacement  of  the 
scribed  lines  occurring.  After  lining  out,  the 
sheave  will  be  chucked  by  the  body,  using 
preferably  the  form  of  dog  shown  in  Fig.  14,  f. 
A  few  adjustments  will  have  to  be  made,  until 
the   bored   hole   is   brought   into   its   required 


426 


METAL-TURNING. 


concentric  position.  The  hole  is  then  bored, 
either  with  a  drill  or  with  a  common  boring 
tool.  The  boss,  d,  is  also  faced,  and  turned  on 
the  edge,  and  for  good  work  the  face  of  the 
sheave  should  be  turned.  If  so,  that  portion  of 
the  surface  which  is  occupied  by  the  scribed 
line,  b,  must  be  left  untouched  for  the  present, 
because  the  line  must  not  be  obliterated  until 
the  periphery  has  been  turned.  The  sheave  is 
then  re-chucked  by  the  hole,  o.  There  are 
several  fashions  in  which  this  could  be  done, 
but  the  neatest  and  best  is  to  make  use  of  a 
special  block  of  metal,  consisting  of  a  plate,  a, 
and  pin,  b  (Fig.  16).  A  key- way  is  cut  in  this 
pin,  and  a  corresponding  key- way  in  the  bore  of 
the  sheave,  and  a  suitable  key  secures  sheave  to 
chuck.  The  chuck,  being  faced  on  the  back, 
lies  truly  against  the  face-plate,  and  being  faced 
on  front,  the  sheave  lies  truly  on  that.  Before 
chucking,  it  will  be  as  well  to  face  off  the  back 
or  flat  face  of  the  sheave.  It  will  then  lay  truly 
upon  the  face-plate.  Adjustment  is  made  by 
trial  and  correction  of  error,  until  the  scribed 
and  poppet  line,  b,  in  Fig.  15,  runs  concentric, 
and  then  the  dogs  being  finally  pinched,  the 
edge  can  be  turned.  After  the  rim  has  been 
turned,  the  face  can  be  finished. 

For  turning  the  edge  of  the  sheave,  a  sheet 
metal  templet,  cut  to  the  section  of  the  recess, 
which  is  similar  to  those  shown  in  Fig.  17, 
should  be  used.  A  corresponding  templet,  cut 
in  the  reverse  direction,  being  used  for  the 
straps,  there  will  be  no  fear  that  the  straps  will 
not  fit  properly  around  the  sheave.  The  chucking 
plate  is  not  essential ;  and  as  some  amateurs  in 
out  of  the  way  districts  have  difficulty  in  getting 
castings,  I  may  just  point  out  that  the  sheave 
can  be  chucked  after  boring,  by  simply  clamping 
it  to  the  face-plate  after  tentative  adjustment, 
with  a  bolt  passing  through  the  bored  hole,  and 
through  any  convenient  slot  in  the  face-plate, 
much  in  the  same  way  as  the  fly-wheel  in  Fig.  13 
is  secured. 

"Where  eccentrics  are  made  in  considerable 
numbers,  it  is  not  even  usual  to  line  them  out. 
A  special  chuck,  like  Fig.  16,  is  used,  having  a 
pin,  c,  on  the  back,  as  well  as  b  in  front.  The 
distant  e,  d,  between  the  centres  of  the  pins,  is 
equal  to  the  radius  of  the  eccentric  ;  the  centre 


of  the  pin,  c,  is  also  the  centre  of  the  sheave. 
The  centre  of  the  pin,  b,  is  the  centre  of  the 
crank  shaft ;  the  pin,  b,  on  the  front  fits  the 
hole  bored  in  the  sheave  ;  and  the  pin,  o,  on  the 
back,  is  either  turned  to  fit  just  within  the  hole 
in  front  of  the  face-plate  that  forms  a  con- 
tinuation of  the  centre  hole  screwed  to  fit  the 
mandrel  nose,  or  it  is  embraced  by  the  jaws  of 
a  jaw  chuck.  Bolts  pass  through  holes,  e,  to- 
secure  the  chuck  to  the  face-plate,  and  to  hold 
the  work  firmly  in  the  lathe. 

Double  eccentrics,  like  Fig.  17,  for  reversing 
engines,  are  quite  as  common  as  the  single  ones. 
Speaking  generally,  the  same  methods  of  lining 
out  and  turning  are  applicable  to  each  type. 
As  the  faces  of  the  two  sheaves  are  in  different 
planes,  it  is  necessary  to  stand  the  sheaves  on 
edge  for  lining  out.  Thus  Fig.  1 8  shows  a  pair  of 
sheaves,  a,  standing  on  a  true  table  or  bed.  The 
point  of  the  scriber  or  surface  gauge,  b,  being 
set  to  the  correct  height  for  the  centre,  its  base 
is  slid  along  on  the  table,  and  the  scriber-point 
successively  marks  the  two  centre  lines,  o  and  d, 
parallel  with  the  face  of  the  table  ;  c  is  the  centre 
of  the  crank  shaft,  and  d  is  that  of  the  sheaves. 
The  centre  lines,  f,  of  the  sheaves  on  back  and 
front,  and  e  for  the  hole,  are  marked  vertically 
at  the  same  setting,  from  the  edge  of  a  set 
square  standing  on  the  table.  The  centres  of 
the  sheaves  and  of  the  crank  shaft,  respectively, 
being  obtained  thus,  the  turning  can  be  pro- 
ceeded with  nearly  as  in  the  case  of  a  single 
eccentric. 

For  turning  double  eccentrics  in  quantity,  the 
chucking-plate  shown  in  Fig.  16  is  also  used  -r 
but  in  order  to  save  time  in  setting  the  positions 
of  the  two  sheaves  for  turning,  two  key-ways 
(Fig.  19)  are  cut  in  the  pin,  a,  at  positions 
corresponding  with  the  respective  angles  of  the 
two  sheaves.  Now,  as  the  key-way  common  to- 
the  two  sheaves  is  cut  at  a,  Fig.  17,  and  the 
key-ways  in  the  pin  are  at  b  and  c,  when  a, 
Fig.  17,  is  at  b,  in  Fig.  19,  the  sheave,  B,  will 
be  concentric  with  d,  and,  therefore,  suitably 
situated  for  turning  its  diameter ;  but  when  the 
key- way,  a,  in  Fig.  17,  is  at  c,  in  Fig.  19,  then 
the  sheave,  c,  will  be  concentric  with  d  for 
turning.  Fig.  20  shows  the  eccentrics  chucked 
ready  for  turning. 


WHEELS  FOR  HAND-CART. 


427 


WHEELS  FOR  HAND-CART. 

By   WM.  P  RID  AY. 


-i>  POKE-BOY — 


I. — Tools— Nave — Frame — S  pokes  - 
Shoulder  Gauge. 
T  request  of  a  reader  of  this  magazine, 
I  have  great  pleasure  in  continuing 
my  papers  upon  wheelwrighting, 
especially  as  the  making  of  a  pair  of  wheels  for 
a  hand-cart  is  the  first  job  that  a  wheelwright 
gives  the  apprentice  to  do  when  he  can  make 
wheelbarrows  successfully,  to  be  followed  by 
making  the  body  of  hand-cart,  after  he  has 
made  the  wheels.  For  making  our  wheels,  we 
shall  require  two  kinds  of  wood,  English  oak 
and  ash — the  oak  for  the  nave  and  spokes,  and 
the  ash  for  the  felloes,  or  rim  of  wheel.  "Wheel- 
wrights generally  buy  their  spokes  and  felloes 
in  a  lot,  and  stack  them ;  thus  they  are  sure  of 
their  beiDg  well  seasoned.  The  oak  for  the 
naves,  perhaps  as  you  are  aware,  is  sawn  into 
suitable  lengths  from  the  trunk  of  the  oak  tree, 
after  it  has  been  felled  in  the  winter.  The  naves 
are  generally  1  inch  longer  than  broad.  Some 
timber  dealers  generally  peel  the  bark  off,  bore 
a  hole  partly  through  at  each  end  in  the  centre, 
and  also  paint  the  ends  with  red  lead,  to 
keep  the  naves  from  splitting,  through  drying 
too  quickly  ;  others  simply  bore  a  hole  through 
the  centre.  No  nave  should  be  used  unless  it 
has  been  standing  twelve  months,  because  it  is 
sure  to  shrink.  If  the  amateur  possesses  a  lathe, 
it  is  quite  possible  that  he  may  turn  the  naves ; 
but  as  it  requires  a  strong  foot-lathe  to  support 
the  nave  when  turning,  he  had  better  send 
it  to  be  turned  at  a  professional  wood  turners  ; 
indeed,  it  is  quite  a  common  thing  in  town  to 
send  naves  to  the  turners,  even  at  coach- 
builders  where  they  employ  a  nnmber  of  men. 

I  will  take  it  for  granted  that  the  amateur 
wheeler  has  a  good  strong  bench,  and  a  kit  of 
tools,  of  which  the  following  is  a  list : — Axe, 
adze,  three  planes — jack,  trial,  and  smoothing 
planes,  brace  and  bits,  gauge,  straight-edge, 
square,  several  wood  chisels,  including  a  buss, 
for  taking  out  the  corners  in  mortises  ;  also 
draw-knife,  spoke-shave,  file,  scraper,  and  a 
couple  of  hammers,  including  a  heavy  or  lump 
hammer ;  and  a  hand  and  tenon  saw. 


The  average  height  of  a  hand-cart  wheel  is 
3  feet  10  inches,  but  the  sizes  vary.  If  you  are 
making  a  wheel  to  match  one  you  already  have, 
of  course  you  will  use  an  old  one  for  pattern, 
taking  care  that  the  new  one  is  a  little  higher 
than  the  old  one,  say  1  inch  or  a  little  over,  for 
when  the  hoop  is  put  upon  the  wheel,  it  con- 
tracts when  the  hoop  has  cooled  down. 

Wheels  are  made  in  two  fashions — namely, 
cart  and  coach  fashion.  In  the  cart  fashion 
(Fig.  1 ),  the  iron  hooping  on  the  front  is  near 
the  spokes,  so  that  a  nogg  can  be  sawn  out  to 
enable  us  to  get  our  linch-pin  in  the  axle.  Fig.  2 
represents  the  coach  fashion.  In  this  you  will 
see  the  hooping  is  upon  the  ends  of  nave,  the 
nave  itself  being  more  elaborate  in  beading ; 
but  for  real  hard  work,  the  cart  fashion  is,  I 
think,  the  best,  the  coach  fashion  being  more 
for  light  work. 

In  buying  our  stuff,  we  go  to  an  English 
timber  merchant,  and  say  that  we  want  "  stuff 
for  making  one  or  a  pair  of  hand-cart  wheels." 
The  first  question  he  will  ask  is,  "  What  height 
of  wheel?"  We  give  him  the  dimensions.  He 
will  very  soon  have  all  our  stuff  ready  for  us — 
pair  of  naves,  spokes,  and  felloes  in  the  rough. 
If  the  naves  have  a  few  splits  in  them,  we  need 
not  mind,  as  that  is  one  reason  for  believing 
that  they  are  thoroughly  dry  ;  indeed,  I  have 
seen  them  with  a  large  split  in  them,  so 
large  that  a  piece  of  oak  was  obliged  to  be 
glued  in  before  going  to  be  turned.  It  is 
surprising  what  a  beautiful  nave  can  be  turned 
out  of  what  appeared  at  first  only  wood  fit  for 
burning.  Blemishes,  with  the  exception  of  one 
or  two  cracks,  are  sought  for  vainly ;  then  when 
we  come  to  paint,  we  can  putty  up.  Well,  we 
have  the  naves ;  and  suppose  they  are  in  the 
rough,  -with  the  exception  of  an  inch  hole 
running  straight  through  the  centre,  we  take 
some  pieces  of  ash  2  inches  long,  and  plug 
each  end  of  nave  up ;  next  set  your  compasses 
3f  inches,  and  strike  a  circle  upon  the  two 
ends  of  nave.  We  now  place  the  nave  upon 
the  chopping  -  block,  and  chop  it  away 
roughly  to  the  mark.  All  naves  should  be 
treated  this  way  before  being  sent  to  the 
turners.  We  now  send  the  naves  to  be 
turned,    with    instructions,    which    should    be 


428 


WHEELS  FOR  HAND-CART. 


marked  upon  the  nave,  coach  or  cart  fashion, 
7  inches  by  8  inches.  Whilst  the  naves  are 
being  turned,  see  about  dressing  off  the  spokes  ; 
these  will  be  of  cleft  oak,  and  will  probably  be 
2  feet  4  inches  long,  or  thereabouts,  1\  inches 
wide,  and  \\  thick.  Of  course,  these  spokes  will 
be  too  long  for  a  hand-cart  wheel,  and  we  shall 
have  to  saw  6ome  off,  but  not  until  they  are 
driven  in  the  nave  for  good.  We  shall  require 
twelve  spokes  for  each  wheel.   In  the  first  place, 


easier  to  work  with  than  the  2-foot ;  at  least, 
wheelers  have  found  out  so  by  experience. 
We  have  now  chopped  our  spokes  out,  so  we 
plane  the  fronts  of  them  up  straight ;  also  the 
back.  We  now  set  our  compasses  3  inches, 
mark  from  bottom  of  spoke,  and  commence  to 
mark  out  two  curves  running  into  each  other ; 
5  inches  from  the  compass  mark,  or  8  inches 
from  bottom  of  spoke,  where  this  line  of  curves 
end,  which  must  be  in   the  centre,  on  face  of 


DESCRIPTION     OF     FIGURES. 

FIG     I  —CART-FASHIONED    NAVE    SHOWING     IRON    HOOPING    NOGG    AND    HOW    TO 

'MORTISE  FOR   TENONS.       FIG.  2.— CART-FASHIONED   NAVE.      FIG.  3.— RULE    FOR 

CHOPPING    SPOKES.       FIG.  4.  — SPOKE   DRESSED.      FIGS.  5,  SA.— FRAME  FIXED  TO 

BFNCH  WITH  WOODEN  HOLDFASTS.       FIGS.  6,  6A. -SPOKE-BOY.      FIG.  7.  — SPOKE 

LEANING  TOWARDS  THE  WHEELER.      FIG.  8.— SHOULDER  GAUGE. 


FI0.6. 


make  a  small 
rule  thus :  get 
a  piece  of  oak 
or  boxwood,  3 
inches  long  by 
FIC6.A    FIG.  7.  i  thick;  plane 

it  up  smooth ;  at  one  side  measure  2£  inches 
long,  and  saw  out ;  at  other  side  measure,  and 
saw  out  \\  inches  (Fig.  3).  This  rule  is  to  use 
when  chopping  the  spokes  down  preparatory 
to  planing.  We  now  take  each  spoke,  and 
commence  to  chop  it  into  shape  upon  the 
chopping  -  block  ;  apply  our  small  rule  the  2^ 
side,  and  when  we  have  chopped  the  spoke 
down,  and  it  is  level  with  the  edge  of  rule, 
commence  chopping  the  sides  until  the  front  is 
\\    thick.       This    small    rule   will    be    found 


spoke,  draw  a  straight  line  up  to  end  of  spoke. 
All  the  other  spokes  should  be  marked  out  like 
this  before  we  commence  to  dress  off ;  this  we 
do  by  fixing  the  end  of  spoke  against  a  hold- 
fast fastened  to  the  bench ;  we  press  the  other 
end  against  our  chest — thus  the  spoke  is  held  in 
a  slanting  position  from  our  chest  to  the  bench. 
Some  wheelers  use  a  leather  pad,  and  fix  it  upon 
the  end  of  spoke  whilst  they  are  dressing  them 
out ;  for  when  the  spoke  is  pressed  hard  against 
the  chest,  it  is  apt  to  make  the  part  pressed 
against  very  sore.  I  have  seen  wheelers  dress 
their  spokes  off  by  fixing  them  in  a  lathe. 
When  the  spoke  was  in  its  place,  and  tightened 
up,  they  could  work  at  it  at  one  side,  turn  the 
spoke  round  with  the  hand,  then  finish  off  at  the 
other.     We  will  suppose  that  we  have  the  spoke 


WHEELS  FOR   HAND-CART. 


429 


fast  against  the  iron  holdfast  in  the  bench,  and 
we  commence  to  dress  the  spoke,  first  with  the 
draw-knife,  smoothing  it  with  the  spokeshave, 
and    finish  the    spoke    off   with  the   file    and 
sandpaper   (Fig.    4).      This   filing    and    sand- 
papering gives  a  spoke  that  roundness  which 
cannot  be  obtained  by  any  other  means.     Up 
the  centre,  and  at  the  back  of  the  spoke,  it  is 
left  A  inch  square  ;  from  this  square  at  the  back, 
we  round  it  to  the  front ;  dress  the  other  side  of 
the  spoke  just  the   same;  that  done,  you  will 
notice  that  each  one  of  the  two  sides  come  to  a 
nice  edge.     S^me  wheelers  do  not  dress  hand- 
cart wheels   sharp  at  the   front,   but   round  it 
only.     We  will  suppose  that  we  have  got  our 
spokes  dressed  out,   and   before  we  go  on  any 
further,  we  shall  be  obliged  to  make  a  wheeler's 
frame  ;  this  frame  is  indispensable  to  a  wheeler, 
and  is  so  easy  of  construction  that  the  youngest 
amateur   amongst   my   readers   will  very   soon 
rig  one  up;    indeed,  without  such  a  frame  we 
could  not  build  our  wheel.     Wheelers,  as  a  rule, 
have  a  long  frame,  so  that  no  matter  what  sort 
of    a   wheel  they   are    making,   it   suits   their 
requirements ;  but  if  you  are  only  making  small 
wheels,  we  need  not  make  th.6  frame  so  long. 
AVe  will  suppose  that  the  top  of  your  bench  is 
2  or  1\  inches  thick  ;  we  get  a  piece  of  old  ash, 
or  any  hard  wood  (failing  these,  deal  will  do), 
•5  feet  long,    6    or    7   inches  wide ;    if   of   ash, 
2J   inches ;  of   deal,  3  inches.     This  long  piece 
need  not   be   particularly  square   or    straight. 
Next  get  two  legs,   the  same  height  from  the 
ground-floor  to  the  top  of  the  bench,  these  to  be 
2J  inches  square  ;  also  two  swords — these  must 
be   of   ash   or   oak,   20  inches   long,   3    inches 
wide,  \\  thick.     Get  your  plane,  and  skim  all 
these  over  roughly,  just  to  take  the  roughness 
off.     We  next  mortise  the  frame  ;  for  the  legs, 
these  mortises  should  be  placed  1  foot  from  each 
end  of  frame  ;  and  be  mortised   out  slanting ; 
the   top   of  legs  will  have  to  be  tenoned  and 
shouldered  nicely  to  fit  to  the  frame  ;  the  top  of 
leg  must  be  on  a  level  with  the  top  of  frame. 
Next  get  the  centre  of  frame,  and  scoop  out  with 
the  gouge  chisel,  just  so  that  the  front  end  of  a 
nave  could  bed  in  it.      We  now  get  the  swords, 
and  bore  in  them  several  £-inch  holes   1  inch 
apart  near   their  ends ;    these  holes  are  to  fix 


\  inch  set  screws,  to  connect  the  frame  to  the 
bench.  Next  get  four  set  screws,  and  screw  the 
swords  upon  the  bench  and  the  half  of  frame, 
not  forgetting  to  put  an  iron  washer  under  the 
head  of  sot  screw ;  for  making  a  hand-cart 
wheel,  the  space  between  the  bench  and  the 
frame  should  be  no  less  than  3  inches.  When 
the  frame  is  fixed  to  the  bench,  scoop  the 
bench  out  a  little  at  the  front,  so  that  the  back 
of  nave  will  bed  in  ;  this  gouging  out  must  not 
exceed  an  inch  at  its  deepest  place,  namely,  the 
centre.  We  now  have  to  mortise  four  holes,  two 
on  the  bench,  and  two  in  the  frame  ;  these  are 
3  inches  long  by  \\  wide,  and  must  be  mortised 
slanting  away  from  the  nave,  and  not  exactly 
straight  with  the  frame ;  the  distance  between 
the  two  mortises  must  be  6  inches.  We  next 
get  four  wooden  holdfasts  ;  these  are  of  ash,  18 
inches  long,  1  inch  thick  ;  they  should  fit  slack 
when  put  in  the  mortise,  and  tighten  as  they  are 
driven  down.  There  are  other  kinds  of  frames 
made,  but  this  I  have  mentioned  is  the  one 
most  suitable  for  an  amateur  (Fig.  5). 

We  now  procure  our  naves,  and  before  we 
can  work  at  them  we  must  get  them  hooped  or 
fretted.  If  the  wheeler  has  a  smithy  close  at 
hand,  he  can  get  the  smith  to  put  the  frets  upon 
the  naves,  or  he  can  put  a  substitute  fret,  and 
packitbetween  the  hoop  and  the  nave  with  a  piece 
of  hooping  iron ;  this  is  very  often  done  in  large 
wheelwrights  and  coachbuilders'  shops,  leaving 
the  frets  to  be  put  on  after  the  wheel  has  been 
put  together,  and  finished  off.  I  have  seen  the 
smith  put  frets  upon  the  naves  before  the  spokes 
were  driven  in,  and  the  frets  have  been  as  tight 
years  after  as  the  day  they  were  put  on.  Of 
course,  the  frets  coming  off  with  the  jar  of 
driving  the  spokes  in,  occurs  only  when  they 
are  put  on  shelving.  But  one  thing  is  certain, 
and  that  is,  you  must  not  attempt  to  drive  in  a 
spoke  until  the  frets  are  on,  or  the  certain  result 
will  be  a  nave  entirely  spoilt.  After  the  naves 
have  been  hooped,  we  get  our  compasses,  and 
divide  the  nave  into  twelve  equal  parts,  each 
compass  mark  to  be  an  inch  from  the  line  which 
the  wood  turner  has  run  round  upon  the  nave ; 
this  line  is  to  show  us  how  far  we  may  bring 
the  spoke  ;  therefore  it  is  called  a  guide  line. 
The  face  of  the   spoke  must  be  upon  a  level 


430 


WHEELS  FOR  HAND-CART. 


with  this  line  when  fitted  in  the  mortise.  After 
we  have  bored  the  nave  with  a  f  bit,  which  must 
be  bored  when  fixed  in  the  wheel-frame,  knock 
the  holdfasts  down  on  the  nave,  and  bore  with 
the  bit  perfectly  perpendicular  down  to  a  depth 
of  1\  inches.  When  one  hole  is  bored,  insert  a 
piece  of  iron  in  the  hole,  and  turn  the  nave 
round,  to  enable  you  to  bore  the  next.  Keep  on 
boring  and  turning  the  nave  until  you  have 
done  all  the  twelve.  Before  we  commence  to 
mortise  the  nave,  we  must  make  a  spoke-boy,  or 
dish  measurer ;  this  is  a  piece  of  hard  wood, 
1  inch  thick;  at  the  bottom  it  is  \\  inches,  and 
the  rest  to  the  top  is  1  inch.  A  J-inch  hole  is 
bored  through  the  stick  2  inches  from  the  end, 
to  fasten  a  set  screw  into  the  nave.  About  a 
foot  from  the  top,  holes  are  bored  with  a  gimlet 
or  shell  bit  £  inch  wide,  1  inch  between  each 
other.  We  now  get  a  piece  of  whalebone,  about 
5  inches  long,  and  pare  it  until  the  bone  fits  each 
hole  tightly.  If  you  cannot  get  whalebone,  a 
piece  of  split  cane  will  do  as  a  substitute.  What 
we  want  is  something  elastic,  which  when  it 
touches  the  spoke  will  bend  or  give  way  in 
passing,  and  rebound  back  to  its  former 
position.  We  now  screw  the  spoke-boy  on  the 
face  of  the  nave  in  the  centre,  not  forgetting  to 
put  an  iron  washer  under  the  head  of  the  set 
screw.  Screw  the  spoke-boy  up  tightly,  so  that 
it  will  work  stiffly  (Fig.  6).  Be  careful  in  putting 
the  whalebone  in  the  spoke-boy ;  have  it  to  fit 
in  closely  ;  but  do  not  fit  it  in  too  tight,  because 
it  is  not  a  fixture,  and  will  require  to  be  altered 
to  suit  different  wheels,  according  to  the  "  dish  " 
required.  Some  wheelers  wedge  their  whale- 
bone with  a  piece  of  oak.  The  whalebone  is 
knocked  in  the  spoke-boy  from  the  wheeler ;  the 
piece  of  oak  is  laid  upon  the  top  of  this,  and 
knocked  in  at  the  other  end  towards  the  wheeler  ; 
thus,  if  they  are  gently  tapped  with  a  hammer, 
they  bind  on  each  other.  Before  we  commence 
to  mortise  and  drive  our  spokes,  I  will  show  you 
how  to  dish  a  wheel.  In  dishing,  a  wheeler 
always  reckons  to  give  a  \  inch  to  every  foot  of 
spoke.  To  be  more  explicit  in  my  meaning, 
place  your  rule  on  the  top  of  nave,  and  measure 
from  the  line  which  the  turner  has  marked  with 
his  chisel  round  the  nave;  the  distance  from  this 
line  we  will  suppose  to  be  3  inches,  or  more.  If 


it  be  3  inches,  we  set  the  cane  or  whalebone 
2-|  inches  from  the  spoke-boy,  at  the  top  of 
spoke ;  thus,  when  we  have  driven  our  spoke 
down,  the  face  of  spoke  at  top  must  only  touch 
the  end  of  the  whalebone ;  thus  it  will  be 
2  J  inches  at  the  top,  and  3  inches  at  the  bottom, 
between  the  spoke  and  the  spoke-boy ;  this  is 
what  is  termed  dishing  the  wheel. 

We  will  now  take  a  spoke,  and  place  the  tenon, 
or  bottom  of  spoke,  over  the  hole  we  bored  in 
the  nave  ;  let  the  face  of  spoke  be  in  a  line  with 
the  one  already  marked  on  the  nave.  Get  a 
steel  scriber,  with  a  nice  point,  and  make  a 
single  scratch  round  the  two  sides  and  the  back  ; 
the  front  is  already  marked  out.  A  lead  pencil 
will  do,  but  it  will  have  to  be  kept  sharpened, 
for  if  it  gets  blunt,  we  are  likely  to  make  the 
mortise  larger  than  the  tenon.  After  we 
have  marked  round  the  spoke,  bore  a  f  hole 
between  the  mortised  line  and  the  hole  already 
bored ;  thus  there  are  now  three  holes  bored 
within  the  mortise.  The  front  hole  should  be 
bored  straight  down,  but  the  back  one  slanting 
towards  the  front  a  little.  We  now  commence 
mortising,  and  we  require  a  special  tool — that 
is,  a  steel  chisel  with  a  hollow  iron  handle, 
filled  with  wood  ;  this  tool  is  used  for  cutting  the 
corners  out  of  mortises,  and  is,  therefore,  in  the 
shape  of  two  sides  of  a  triangle.  But  if  you  do 
not  possess  one,  we  can  manage  with  the  other 
two  chisels;  one  will  be  f-inch,  and  the  other 
1^-inch  wide.  When  mortising  down  the  front 
with  the  J  chisel,  do  so  in  a  straight  line ;  also  the 
two  sides,  using  the  larger  chisel ;  but  the  back 
can  slope  a  little  towards  the  front,  about 
£  inch.  The  spoke  ought  to  be  planed  at  the 
tenon,  the  two  sides  and  the  back,  but  not  the 
front.  When  we  have  made  a  mortise,  take  care 
that  we  do  not  mortise  deeper  than  3  inches,  or 
until  we  come  to  the  hole  which  has  been  bored 
through  the  nave. 

In  driving  the  spoke  in,  it  should  be  driven  in 
2  inches.  The  tenon  really  should  fit  on  the 
nave  3  inches,  or  up  to  the  compass  line  on  the 
face  of  spoke ;  but  when  we  are  only  fitting  the 
spokes  in,  we  fit  them  in  the  mortise  a  little  at  a 
time  ;  to  show  where  the  tenon  binds,  rub  some 
paint  very  thinly  on  it ;  then  drive  into  the 
mortise  where  the  paint  has  touched,  pare  off 


WHEELS  FOR  HAND-CART. 


431 


with  chisel ;  also  plane  a  little  off  tenon.  To 
get  a  spoke  out  of  the  nave,  when  it  is  fast,  hit 
the  top  part  of  the  spoke  at  the  hack  and  front, 
alternately,  until  you  get  it  out.  Wheelers 
always  mortise  and  drive  in  their  spokes 
alternately.  If  the  wheels  are  small,  they  get 
all  their  mortising  done  before  they  drive  in 
their  spokes ;  but  in  large  wheels,  they  get  six 
spokes  in  their  place,  then  mortise,  and  drive  in 
the  other  six  between  the  spokes  already  in  ;  so 
if  you  cut  all  the  twelve  mortises  first,  you 
must  number  each  mortise  and  tenon  to  corre- 
spond. In  some  cart  wheels,  the  spokes  will 
be  put  in  coach  fashion — that  is,  the  turner 
runs  two  lines  upon  the  nave  ;  these  are  called 
the  inner  and  outer  guide  lines.  These  two  lines 
are  run  upon  nearly  all  naves,  for  when  in  the 
lathe  it  is  no  trouble  to  run  them  on.  In  coach 
wheels,  the  spokes  are  not  let  into  the  nave  all 
in  a  straight  line,  but  are  placed  alternate  one 
to  another ;  thus  No.  1  spoke  is  on  a  dead  level 
with  the  outer  line,  No.  2  comes  level  with  the 
inner  guide  line,  No.  3  comes  to  the  outer 
line,  and  is  in  a  straight  line  with  No.  1,  etc. 
In  driving  spokes  in  coach  fashion,  we  drive  the 
first  six  level  with  the  inner  guide  line ;  then 
afterwards  mortising  the  other  six  out,  and 
fitting  the  spokes  in  the  last,  to  come  flush  to  the 
outer  line. 

In  driving  spokes  home  in  the  nave,  on  no 
account  must  they  be  driven  in  one  after  the 
other,  or  the  result  will  be  a  nave  split  up  in 
two  or  three  parts.  If  the  nave  has  a  split,  or 
an  opening  in  the  nave,  when  you  get  it — and 
this  is  frequently  the  case  with  oak  naves- — 
contrive,  in  setting  out,  for  the  split  to  come  in 
or  near  the  centre  of  mortise,  but  to  have  it  in 
the  mortise  some  way.  But  now,  to  continue 
with  our  wheels  ;  these  spokes  for  the  hand-cart 
wheel  are  to  be  driven  in  a  straight  line,  and  not 
coach  fashion.  "We  take  one  of  the  spokes, 
holding  it  with  the  left  hand  whilst  we  drive  it 
home  with  our  lump  hammer.  "Wheelers  have 
a  spoke-axe,  so-called,  though  really  somewhat 
like  a  flat  sledge  hammer ;  but  this  ia  too  strong 
for  light  wheels.  "When  the  spoke  is  in  a  little, 
push  the  spoke-boy  to  the  face  of  spoke ;  if  the 
whalebone  just  touches  the  edge  of  spoke,  you 
are  driving  right ;  drive  the  spoke  down  another 


inch,  and  try  the  spoke-boy  again  ;  if  it  be  right, 
drive   the   spoke   home  in  the  nave   until   the 
compass  line  on  the  face  of  spoke  just  touches 
the  nave.     Observe  that  the  spoke-boy  must  be 
pushed  out  of  the  way  at  your  left-hand  side, 
as  wheelers   always   work   from   right   to  left. 
"When  we  have  driven  in  a  spoke,  we  turn  the 
spoke  down   to  our  left,   and   in    making   the 
nave   turn  round,  leave    the  mortise  next  but 
one  to  the  spoke.     Be  sure  you  do  not  drive  in 
a  spoke  next  to  the  one  which  you  have  just  put 
in,  but  leave  this  space  to  be  mortised  after.  If, 
however,  a  mortise  is  between  the  spoke  already 
in  and  the  spoke  you  are  driving,  it  will  be  quite 
right ;  drive  in  the  spoke  exactly  the  same  as 
you  did  ike  first.     "When  the  spoke  is  driven  in 
a  little,  bring  your  spoke-boy  round,  and  test 
the  spoke.     If  the  whalebone  does  not  touch  the 
spoke,  you  must  hold  the   spoke  towards  you, 
pulling   very  hard  with  your  left  hand  whilst 
you    strike   the  top    of    spoke   nearer   to    the 
back  with  the  lump  hammer ;  if,  on  the  other 
hand,  the  spoke  is  too  near  you,  and  will  not 
allow  the  whalebone  to  pass,  you  must  push  the 
spoke  from  you,  hitting  the  top  of  spoke  nearer 
the   front,    or   on    the    edge    of    front.     Drive 
six   of    the    spokes    in    first,    leaving  a  space 
between  two  spokes  for  a  mortise,  afterwards 
fitting  and  driving  in  our  six  other  spokes.  You 
must  be  sure  that  the  whalebone  in  the  spoke- 
boy  has  not  shifted,  for  if  it  has,  the  wheel  will 
not   be    true   when   finished.      In  driving    the 
spokes  home,  do  not  be  afraid  of  hitting  them, 
for   if   they  do   not  fill   the   mortise,    and    fit 
tightly,    the   wheels   will    be   weak.      Another 
thing,  when  fitting  in  the  second  lot  of  spokes, 
you  will  have  to  pare  down  the  end  of  mortises  ; 
for  if  you   look   down,  j'ou   will  see  that  the 
tenons   of   the  other  two    spokes  almost  meet. 
Now,    if  you  drove  in  the  spoke,   it  is    liable 
to   loosen   the   other  two  ;    therefore,  pare  the 
bottom  of  tenon  by  just  taking  the  average  off 
the  two  sides  of  tenons.     In  driving  in  spokes 
coach    fashion,    although   the    inner   spoke    is 
£  inch  behind  the  front  spokes,  yet  the  tops  of 
spokes  must   all   be  in  a   line ;  therefore,  they 
must   all  be    2£   inches   from   the   spoke-boy ; 
thus  you  will   see  that  the  top  of   spokes  are 
bending  towards   the  wheeler  (Fig.  7).     It  is 


432 


A   DRAWING-ROOM  0\rER-MANTEL. 


supposed  that  wheels  dished  like  this  last 
longer,  for  when  the  hoops  gets  slack,  the  wheel 
straightens,  thus  keeping  the  hoop  tighter  for 
a  longer  period  ;  besides,  when  dished,  they  do 
not  grind  against  the  side  of  the  cart,  which 
they  would  if  straight.  We  have  now  speeched 
the  wheel,  i.e.,  put  in  all  the  spokes,  and  before 
we  take  it  out  of  the  pit-frame,  we  run  our 
spoke-boy  over  the  twelve  spokes,  to  see  if  they 
are  right ;  if  so,  knock  the  holdfasts  off  the 
nave,  and  fix  the  wheel  upon  a  wheeler's  trestle, 
face  uj>wards.  This  trestle  you  will  find  in 
Amateur  Work,  in  "The  Wheelbarrow:  and 
How  to  Make  It,"  Part  II.,  New  Series,  page  73 
(Fig.  18).  We  now  unscrew  the  spoke-boy,  and 
put  it  away  for  use  another  time. 

We  shall  now  require  a  shoulder-gauge.  This 
is  a  piece  of  ash,  2  feet  long,  1  inch  wide.  One 
end  is  bevelled  on  the  flat  side  from  1 J  inches  to 
a  feather  edge ;  this  is  to  allow  it  to  fit  on  the 
nave  between  two  spokes.  We  next  measure 
from  the  bottom  of  the  shoulder-gauge,  or  from 
that  part  which  has  been  bevelled,  to  rest 
between  the  spokes;  measure  191  inches  at 
this  point,  and  in  the  centre  of  gauge  fix 
a  sharp-pointed  bradawl  (Fig.  8).  Get  your 
shoulder-gauge,  put  the  bevelled  edge  between 
the  spokes,  holding  it  in  this  position  with  the 
left  hand  ;  move  the  shoulder-gauge  to  and  fro, 
thus  marking  round  the  sides  of  spoke.  When 
one  side  of  spoke  is  scratched,  or  marked,  do  the 
others  exactly  the  same,  taking  care  to  always 
have  the  fiat  side  of  gauge  against  the  side  of 
spoke.  When  both  sides  of  the  spokes  are 
marked,  we  get  our  fine  hand-saw,  and  saw  the 
ends  of  spokes  off,  up  to  the  marks  we  have  just 
b  jen  gauging.  Save  the  pieces  which  are  sawn 
off,  as  they  are  always  handy  in  the  shop  for 
making  wedges,  some  of  which  we  shall  require 
later  on. 


A  beautiful  violet  colour  is  imparted  to 
brasswork  by  the  application  of  chloride  of 
antimony.  First  get  the  work  perfectly  bright 
and  clean,  and  heat  it  over  a  spirit  -lamp  so  that 
water  will  steam  off  it,  then  apply  the  chloride 
of  antimony  liquor  with  a  pad.  When  the  metal 
has  assumed  an  even  colour,  polish  and  protect 
with  clear  lacquer. — Furniture  and  Decoration. 


DRAWING-ROOM    OVER-MANTEL 

IN    IVORY    WHITE    ENAMEL,    WITH 
LINCRUSTA  DECORATED  PANELS. 

By  "EXPERIENCED  AMATEUR:' 


T  has  always  appeared  to  me  desirable, 
if  not  actually  essential,  that  an 
amateur,  whether  working  in  wood 
or  metal,  should,  to  obtain  the  best  results,  care- 
fully consider  the  time  requisite  to  attain  a 
desired  or  given  result.  Many,  perhaps  most, 
of  the  articles  in  Amateur  Work  are  written 
rather  to  point  to  a  pleasing  completion  of  any 
desirable  combination  of  wood  and  metal,  than 
to  the  readiest  method  of  construction  at  the 
least  possible  expenditure  of  time  and  money. 
The  former  to  many  amateurs  is  almost  more 
precious  than  the  latter  ;  they  toil  evening  after 
evening,  or  perhaps  before  breakfast  as  well, 
over  an  elaborate  piece  of  wood  carving  on  one 
or  more  panels  for  a  very  necessary  addition  to 
their  collection  of  household  furniture.  The 
piece  of  work  in  hand  is  much  wanted  in  the 
house,  and  others  are  also  waiting  to  be  con- 
structed, with  the  probability  of  their  decorations 
requiring  a  similar  treatment  with  an  equal  ex- 
penditure of  time.  By  thus  adopting  a  tedious 
process  for  a  given  end,  most  of  the  pleasure  of 
evening  carpentry  and  turning  degenerates  into 
a  tedious  toil,  and  the  relaxation  and  relief 
afforded  by  a  change  from  the  mental  labour  of 
the  desk  or  office  to  the  manual  avocation  of  the 
bench,  in  a  great  measure,  is  lost.  To  combine 
recreation  with  utility,  the  amateur  requires,  I 
believe,  to  choose  objects  for  his  attention  which 
can  be  "turned  out"  readily  at  little  expense, 
and  which  he  is  assured  will  be  useful  when 
completed.  Nothing  seems  to  come  up  to  this 
requirement  so  much  as  an  over-mantel  for  either 
drawing-room  or  dining-room  ;  the  former  is 
chosen  from  the  preference  naturally  arising 
through  having  actually  completed  one,  and  also 
because  these  decorations  are  more  appropriate 
to  that  class  of  room.  This  over-mantel  may 
bear  elaborate  carvings  in  any  wood  which 
fancy  may  dictate,  polished  or  varnished  off  in 
the  highest  style  of    art ;    and  it  can  also  be 


A   DRAWING-ROOM  OVER-MANTEL. 


433 


constructed  of  the  simplest  materials,  with  very 
little  care  and  trouble,  to  show  when  completed 
quite  as  pleasing  an  effect  as  the  carved  one 
alluded  to.  I  advise,  from  actual  experience, 
that  this  piece  of  decorative  furniture  should  be 
adapted  to  the  room  in  which  it  is  to  be  fixed, 
and  therefore  no  hard  and  fast  measurements 


and  formal.  This  height  must,  however,  be 
regulated  by  the  available  space  in  the  room 
itself,  from  the  mantel-piece  to  the  cornice  ;  the 
latter  being  sufficiently  above  the  over-mantel 
to  prevent  the  room  from  appearing  "brought 
down,"  or  "lowered."  The  frames  (b)  in  which 
the  panels  are  to  be  fixed  are  well  made  in  inch 


c 


jjllP 

ilPl! 

L!            ■"'"-■ 

b 


A 


FIG.    I. — OVER-MANTEL,   FRONT  VIEW. 


or  scale  drawing  are  annexed.  The  base  (a)  in 
sketch  ought,  obviously,  to  be  a  little  less  in 
width  than  the  length  of  the  mantel-board 
carrying  the  wool  or  other  ornamental  border 
on  which  our  over-mantel  is  ultimately  to  rest. 
The  width  over  all  the  panels  ought  to  be  2  or 
3  inches  less  than  the  base  ;  the  height  from  the 
mantel-board  to  the  top  frieze,  or  other  finish, 
should  be  some  6  or  7  inches  more  than  the 
above  width,  to  prevent  it  looking  too  square 


board,  2  inches  wide ;  the  bottom  rail  or  style 
(a)  being  rather  wider,  say  2£  inches,  to  give 
solidity  and  variety  to  the  structure.  The  avail- 
able area  of  the  whole  over-mantel  should,  as 
soon  as  it  is  ascertained  by  measuring  the  room, 
be  carefully  planned  out  in  panels.  There  is 
usually,  and  with  good  effect  too,  a  mirror  in 
the  bottom  centre  one — by  preference  of  bevelled 
edges;  but  most  of  the  older-fashioned  over- 
mantels sold  are  still  further  crowded  with  other 
vol.  in.  (n.s.) — M  M 


434 


A    DRAWING-ROOM  OVER-MANTEL. 


mirrors  in  their  adjacent  panels.  These  only 
mean  expense,  and  much  trouble  in  fitting,  to  an 
amateur,  whilst  the  final  effect  is  inferior  to 
Lincrusta  "Walton.  This  useful  material  can 
now  he  obtained  in  an  endless  variety  of 
embossed  patterns  suitable  for  every  form  of 
decoration.  In  the  illustrated  pattern  book, 
lent  by  Messrs.  Godfrey  Giles  and  Co.  (late  the 
Lincrusta  and  General  Decorating  Company), 
19,  Old  Cavendish  Street,  Oxford  Street,  W., 
will  be  found  designs  for  filling  up  panels,  either 
in  strips  or  sheets ;  the  patterns  are  either 
entirely  covering  the  area  of  material,  or  flat, 
with  a  raised  design  in  the  centre.  The  latter 
for  broad  panels  are,  to  the  writer's  mind,  far 
the  best ;  the  patterns  stand  out  in  bold  relief, 
with  much  effect,  and  at  a  cost  which  would  take 
months  of  evening  work  to  produce  half  so  well 
in  carving,  ever  so  carefully  executed.  There 
are  also  numerous  excellent  borderings  in 
classical  patterns,  one  of  which  will,  with  good 
effect,  go  round  the  centre  mirror.  This  mirror 
is  better  of  moderate  size,  nothing  approaching 
the  old  pier-glass  now  mostly  found,  I  believe, 
at  the  sea-side  lodging-house.  There  ought  to 
be  decorated  panels,  one  on  each  side  of  this 
mirror,  two  others  similar  in  size  and  pattern 
above,  and  then  a  long  shelf  above  all.  Two 
small  shelves  can  with  great  advantage  be  fixed 
between  each  of  the  upper  and  lower  panels, 
and  pillars  of  turned  work  run  from  the  outer 
corners  of  these  two  lower  shelves  up  to  the  long 
upper  one.  The  latter  is  with  better  effect  cut 
narrower  in  the  centre,  where  it  "  shadows"  the 
work  underneath.  The  space  above  the  centre 
mirror,  and  between  it  and  this  long  shelf, 
should  also  receive  another  and,  of  necessity, 
larger  panel,  filled  in  with  lincrusta.  A  pleasing 
"break"  or  variety  in  this  series  of  panels  is 
provided  by  a  long  narrow  one  above  the  upper 
shelf,  filled  in  with  a  4  or  5  inch  width  of  border 
pattern  lincrusta.  The  panels  provided  with 
plain  grounds  are  better  if  laid  perfectly  flat ; 
but  a  good  and  varied  effect  is  produced  by 
slightly  curving  the  narrower  or  border  patterns. 
The  top  finish  or  frieze  is  also  a  source  where 
the  amateur  may  exert  his  own  ingenuity,  and 
let  his  fancy  in  the  design  "run  free,"  but  not 
"  wild."    A  rectangular  projecting  canopy  of 


bold  moulding  pattern  looks  well,  especially  in 
lofty  rooms ;  this  moulding  can  be  the  ordinary 
frieze  moulding  supplied  for  that  purpose  by 
the  manufacturers  of  such  decorations,  and  it 
should  be  supported  by  two  brackets,  one  at 
each  end,  springing  from  the  stiles  which  rise 
from  each  side  of  the  mirror.  The  space  between 
these  two  brackets  can  be  filled  up  with  a  piece 
of  millboard  or  stout  cardboard,  curved  to 
receive  lincrusta  decoration,  as  in  dotted  lines. 
If  preferred,  this  frieze  may  take  the  gable  form 
at  a  very  obtuse  angle  pitch,  and  the  hollow  of 
such  gable  or  frieze  should  then  be  filled  in  with 
a  treatment  similar  to  the  rest,  though  not 
exactly  like  in  detail  of  pattern.  A  further 
variety  of  effect  can  easily  be  produced  by 
allowing  the  upright  stiles  on  each  side  of  the 
panels  to  pass  up  for  an  inch  or  so  beyond  the 
whole  area  of  the  over-mantel,  in  a  similar 
manner  to  the  projections  formed  by  the  base 
passing  beyond  the  total  width,  as  already 
pointed  out.  The  various  corners  thus  apparent 
being,  of  course,  at  45  degrees,  can  be  filled  in  by 
pieces  formed  by  turning  a  circular  "  plaque  " 
or  disc  of  the  required  size  in  wood,  and  sawing 
it  across  the  centre  twice.  Two  plates  of  brass 
must  be  attached  to  the  back,  at  the  top  of  the 
frieze,  so  as  Jto  be  invisible  when  in  situ,  by 
which  the  whole  over-mantel  will  be  secured  to 
the  wall  when  finally  fixed. 

A  few  details  of  construction  may  not  be 
inappropriate  ;  though  amateurs  who  have  care- 
fully read  their  Amateur  Work  from  the 
first,  with  a  fair  amount  of  actual  practice 
ought  to  require  but  few  printed  suggestions. 
The  whole  piece  of  furniture  is  well  finished 
if  painted  with  Aspinall's  "ivory  white" 
enamel,  two  coats  at  least  being  applied.  I 
have  no  interest  in  any  form  of  treatment ;  but 
I  believe  Aspinall's  to  be  a  good  article  It 
should  be  applied  with  the  smooth  fine  flat  brush 
supplied  from  the  "Works,  not  with  a  "hog  tool," 
either  flat  or  round ;  the  latter  form  of  brush,  if 
at  all  stumpy  or  hard,  will  entirely  spoil  the 
effect  of  the  enamel.  On  flat,  even  surfaces  the 
brush  recommended  will,  if  the  under  coat  is 
dry  before  applying  the  next,  leave  a  finish 
like  "porcelain."  The  American  white,  or 
gum  wood,  is  perhaps  the  best  to  use  for  the 


A   DRAWING-ROOM   OVER-MANTEL. 


435 


construction  of  this  interesting  piece  of  furni- 
ture; that  wood,  not  obtainable  everywhere,  is 
of  remarkably  close  and  even  texture,  like  beech, 
but  soft,  and  with  sharp  planes  can  be  "got 
up  "  either  way  of  the  grain.  Its  great  width 
of  board,  some  24  inches,  is  also  very  useful  to 
the  amateur ;  whilst  its  almost  entire  freedom 
from  knots  and  shakes  renders  it 
par  excellence  the  medium  for  the 
home  workshop,  except  where 
exceedingly  hard  wearing  furni- 
ture, like  kitchen  or  nursery 
chairs,  are  required.  This  wood 
would  be  used  for  the  frame  ;  the 
panels  themselves  can  be  filled 
in  with  J-inch  wood  from  any 
packing-case,  and  are  better  not 
planed  up.  "When  the  whole  of 
the  skeleton  of  the  over-mantel 
is  complete,  these  fillings  of  thin 
wood  should  be  sprigged  in  from 
the  back,  a  small  rebate  having 
been  cut  in  the  upper  and  lower 
stiles  to  receive  them.  All  parts 
requiring  the  lincrusta  decoration 
must  be  first  covered  with  old 
newspaper,  attaching  them  by  a 
cement  made  by  mixing  glue 
and  paste  in  equal  proportions. 
"When  the  paper  is  dry,  the  lin- 
crusta must  be  fixed  with  the 
same  adhesive  preparation,  care 
being  used  to  press  out  all  air 
bubbles,  or  the  final  result  will 
be  a  series  of  unsightly  blisters 
or  other  unevenness.  If  these  do 
occur  in  spite  of  all  precaution, 
they  can  be  held  down  by  eery 
fine  "  coffin "  tacks,  and  the 
final  painting  will  conceal  them. 
The  reader  will  observe  that  so 
far  no  provision  has  been  made, 
in  this  attempt  at  description,  for  the  mould- 
ings usually  found  round  door  panels,  etc. 
I  prefer  leaving  the  sides  of  the  vertical  panels 
without  any  moulding  whatever,  but  fitting 
pieces  across  the  top  ;  these'eanbe  either  narrow 
ordinary  make,  level  when  in  place  with  the 
surrounding  stiles,  or  raised  with  an  undercut 


rebate  to  spread  partly  over  the  stile,  and  pro- 
ject with  rounded  ends  on  either  side.  The  long 
shelf  and  the  two  smaller  ones  ought  to  be  of 
^-inch  board,  and  can,  with  great  improvement 
in  effect,  have  their  edges  bevelled  or  chamfered 
off.  A  Gothic  "scratch"  tool  is  also  useful  to 
run  small  beads  along  the  edge  of  these,  or  the 
upper  brackets.  Moderate  -  sized  knobs,  or 
"  buttons,"  ought  also  to  be  turned  to  fill  up  the 
holes  made  by  the  entries  of  the  pillars  inter- 
vening between  the  upper  and  lower  shelves ; 
this  class  of  finish  niay  be  noticed  upon  almost 
any  over-mantel.  A  vague  idea  only  of 
panels  is  given,  as  in  lincrusta  decoration  no 
proper  justice  can  be  given  in  an  ordinary  draw- 
ing. The  mirror  ought  to  be  fixed  by  slips  of 
sheet  zinc  to  a  backing  board,  and  the  bordering 
lincrusta  pasted  round  it ;  when  dry,  the  whole 
can  be  fixed  in  its  place  in  the  over-mantel.  In 
planning  out  a  work  of  this  kind,  the  size  over 
all — of  space  to  be  covered — must  be  ascer- 
tained, then  deduct  from  this  the  widths  of  all 
the  stiles  ;  thus  leaving,  as  a  residue,  the  area 
available  for  the  panels.  The  patterns  for  these 
should  be  chosen  so  that  the  frame  or  skeleton 
of  the  whole  is  constructed  to  suit  the  panels — 
not  the  panels  sought  for  after  the  frame  is  made. 
The  vertical  stiles  can  advantageously  be 
mortised  into  the  lower  base  piece,  but  the 
cross  pieces,  uniting  all  these,  are  more  easily 
managed  by  a  "half  check"  dovetail  at  the 
back,  glued,  in  all  cases,  together,  and  supple- 
mented by  short  screws  from  the  back  through 
the  dovetails.  The  shelves  are  fixed  by  long 
2-inch  screws,  driven  from  the  back,  the  softness 
of  the  wood  admitting  of  the  screws  boring  their 
own  way  in,  with  little  or  no  preliminary  pre- 
paration by  a  bradawl  or  a  gimlet.  The  paper 
backing,  referred  to  above,  is  to  prevent  subse- 
quent irregularities  appearing  in  the  lincrusta 
through  shrinkage  of  the  woodwork,  a  not 
unlikely  contingency,  seeing  that  our  piece  of 
work  has  to  rest  against  a  chimney  jamb,  behind 
which  one  or  more  flues  pass  up,  warmed  by 
daily  fires.  An  over-mantel  of  this  class  of 
construction  will,  in  its  varying  details,  provide 
many  agreeable  changes  of  work,  and,  if 
persevered  with  to  a  successful  issue,  will  be 
a  constant  source  of  usefulness. 


436 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


OLD 


ENGLISH  CHAIR   IN   CUT 
LEATHER. 

By  ROBERT  COXON. 


(For  Illustrations  see  Folding  Sheet  presented  with  this  Part.) 
HIS  design,  if  carefully  carried  out, 
will  be  found  to  form  a  pretty  and 
effective  piece  of  furniture  for  a  hall 
or  occasional  chair  in  the  old  baronial  style. 

The  woodwork  itself  is  not  at  all  elaborate, 
and  could  either  be  cut  by  the  workman  from  a 
6-inch  plank,  or  ordered  cut  in  the  curve  from 
the  mills,  each  pair  halved  and  bolted  together 
with  J  inch  tie-rod  and  with  substantial  cross- 
pieces,  and  provided  with  elbows,  will  be  found 
to  make  a  steady  piece  of  work. 

The  design  for  the  leather  seating  I  have 
drawn  half  full-size,  but  if  desired,  an  inch  or 
two  for  more  practical  purposes  might  be  added 
in  width  to  the  leather  itself.  In  procuring  this, 
see  that  you  secure  a  strong  and  genuine  piece 
of  material,  but  no  more  than  &  inch  thick.  To 
effectively  work  it,  first  damp  the  leather,  and 
transfer  the  design  with  a  hard  tracer,  cut  the 
outlines  with  a  sharp-pointed  tool  or  penknife  to 
the  depth  of  about  one-half  of  thickness  for 
raised  portions,  holding  the  tool  upright,  and  for 
the  subsidiary  lines  on  leaves  only  cut  about  one- 
quarter  deep,  taking  care  that  no  line  crosses  or 
intercepts  another.  Again  well  wet  the  leather, 
and  work  out  the  raised  leaves  and  scrolls  from 
the  back  with  the  rounded  edge  of  a  tool  or 
hammer. 

If  a  buff  leather  is  used,  it  can  be  very  effec- 
tively improved  by  darkening,  either  the  back- 
ground of  design  or  the  leaves  and  conventional 
forms  themselves,  with  a  coloured  preparation, 
or  dye,  or  weak  shellac. 

The  workman  may  also  use  his  own  discretion 
in  pressing  down  the  edges,  gilding  portions,  or 
working  in  background  with  matting  tool. 

When  finished,  the  seating  and  back  may  be 
laced  tightly  by  a  good  strong  cord,  or  leather 
lacing,  to  the  wood  supports  at  the  two  sides  of 
each  article,  to  form  a  sufficiently  yielding  and 
comfortable  seat.  The  elbows,  if  desired,  may 
be  padded  in  a  thinner  leather  of  same  colour, 
and  the  whole  finished  with  netted  fringe. 


ELECTRIC   LIGHTING  FOR 
AMATEURS. 

By  GREOORIE  EDOUIN  BEY. 


III.— Power  required  to  Work  Dynamos— How  to 
Arrange  the  Lamps— Safe  Carrying  Capacity  of 
Wires  and  Cables  —  Edison--  Swan  Lamps  — 
Switches — Cut-outs,  etc. 

IN  my  previous  paper  on  this  subject,  I 
did  not  attempt  to  give  instructions  on 
the  manufacture  of  dynamo  electric 
machines,  because  there  were  ample  instructions 
already  in  print  on  this  subject,  contained  in  the 
two  books  previously  mentioned.  I  will,  there- 
fore, presume  that  my  brother  amateurs  have 
followed  my  advice,  and  have  either  purchased 
the  machine  of  their  choice,  or  bought  the 
parts  of  a  chosen  machine,  together  with  a  book 
telling  them  how  to  put  the  parts  together. 

"We  have  now  to  work  the  machine,  and  get 
from  it,  ii  we  can,  enough  electric  current  to 
light  up  our  incandescent  lamps.  Bearing  in 
mind  the  rule  quoted  in  a  previous  article,  that 
it  takes  1  horse  power,  plus  10  per  cent.,  to 
develop  746  watts  of  electric  current  with  the 
machine,  we  shall  have  little  difficulty  in  deter- 
mining the  power  needed  to  drive  the  machine, 
when  we  know  the  maximum  output  of  current 
obtainable  from  it.  The  power  of  six  able- 
bodied  men  is  reckoned  as  being  equal  to  1 
horse  power,  but  an  able-bodied  man  will  find 
in  practice  that  he  can  only  develop  his  theoretical 
share  of  electric  energy  from  a  dynamo  machine 
as  a  spurt,  and  it  will  overtax  his  powers  of 
endurance  to  keep  three  10-c.p.  lamps  up  to  their 
proper  pitch  of  brilliance  for  any  length  of  time, 
if  he  has  to  drive  the  machine. 

A  model  steam  engine  is  one  of  the  best  motors 
for  driving  an  electric  light  dynamo,  but  it  must 
have  a  power  above  that  which  will  be  actually 
required  to  drive  the  machine  at  its  full  output. 
Next  to  this,  perhaps,  will  be  a  small  turbine  or 
water  motor;  but  these  are  not  always  available, 
for  want  of  water.  Small  gas  engines  are  not 
suitable,  as  the  lights  are  very  sensitive  to 
fluctuations  of  the  current,  and  this  will  be  sure 
to  fluctuate  with  each  impulse  of  each  explosion 
in  the  engine.  Those  impulses  are  not  so 
pronounced   and  violent    when    the    power    is 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


437 


large    engine  doing  heavy, 


taken  off   from  a 
steady  work. 

The  brilliance  and  full  lighting  capabilities  of 
an  electric  light  will  be  largely  dependent  upon 
the  electro-motive  force  of  the  current,  and  this, 
in  turn,  will  be  controllable  by  the  speed  of  the 
motor.  As  the  speed  increases,  so  does  the 
pushing  force  of  the  current  obtained  from  the 
dynamo.  An  increase  of  speed 
in  the  motor  when  the  lamps 
are  fully  alight,  will  send  more 
current  through  their  filaments 
than  they  can  safely  bear,  and 
the  result  will  be,  in  many  in- 
stances, a  sudden  breaking  of 
the  filament,  and  extinction  of 
the  light.  This  being  the  case, 
we  must  have  the  speed  of  the 
motor  under  control,  and  should 
be  careful  to  increase  the  speed 
gradually  until  the  proper  de- 
gree of  brilliance  in  the  light 
has  been  obtained.  This  is 
known  to  practical  men  at  a 
glance,  and  may  be  explained 
here  to  be  something  like  that 
emitted  by  a  piece  of  iron  at 
welding  heat.  The  gradations 
of  incandescence  may  be  de- 
scribed as  red,  no  appreciable 
light ;  yellow,  a  faint  yellow 
light ;  cream,  a  whitish-yellow 
light ;  white,  a  light  agreeable 
to  the  eye;  sparkling  white,  the 
proper  brilliance  for  electric 
lighting ;  bluish  white,  that 
given  off  by  the  filaments  when 
enduring  the  highest  strain,  and 
in  danger  of  total  disruption. 
Some  good  filaments  will  bear 
this  strain  foT  a  considerable  time,  and  may  be 
frequently  brought  to  this  state  of  incandescence, 
whilst  others  will  part  before  this  extreme  con- 
dition of  strain  is  reached.  It  may  be  stated 
here  that  some  difference  in  the  lighting  power 
and  endurance  of  lamps  may  be  expected,  even 
when  the  lamps  are  all  obtained  from  one 
maker,  and  are  represented  as  being  of  the  same 
voltage  and  candle  power.  It  will  also  be  under- 


stood that  all  the  lamps  for  one  installation  of 
electric  lighting  should  have  the  same  voltage 
when  they  are  to  be  lighted  with  current  from  one 
dynamo.  If  we  choose  one  10-c.p.  lamp  of,  say, 
15  volts,  and  another  of  20  volts,  the  latter  will 
offer  a  greater  resistance  to  the  current  than  the 
former,  and  thus  get  less  current,  whilst  its 
companion  may  get  more  current  than  will  be 
good  for  it. 

The  current  obtainable  from 
adynamowill  be  largely  affected 
by  the  position  and  condition 
of  its  brushes.  All  brush- 
holders  should  be  so  con- 
structed as  to  facilitate  adjust- 
ment of  the  brushes  to  any 
required  angle,  since  a  slight 
variation  in  the  angle  or  lead 
of  the  brushes  will  greatly 
affect  the  volume  of  the  current 
obtainable  from  the  machine. 
The  best  position  is  found  by 
actual  trial,  and  is  indicated 
by  full  effects  in  the  outer  cir- 
cuit, coupled  with  least  sparking 
on  the  commutator,  where  the 
brushes  press  upon  its  surface. 
The  brushes  should  not  press 
heavily  on  this  part,  but  only 
enough  to  keep  them  in  close 
contact.  The  best  material  for 
brushes  is  fine  copper  wire 
gauze  cut  into  long  strips,  and 
formed  into  pads. 

Incandescent  electric  lamps 
may  be  arranged  in  two  dif- 
ferent ways  to  suit  the  current 
capacity  of  the  machine.  They 
may  be  arranged  in  series  when 
the  machine  is  driven  at  a  high 
rate  of  speed,  and  wound  with  fine  wire  on  its 
armature,  to  give  a  high  electro-motive  force. 
This  arrangement  is  shown  at  Fig.  3,  and  con- 
sists of  lamps  so  linked  together  by  suitable 
wires  as  to  form  one  continuous  chain.  As  they 
then  oppose  their  united  resistance  to  the 
passage  of  the  current,  this  must  have  a  high 
electro-motive  force  to  overcome  the  resistance 
of  the  lamps.     The  lamps  may  also  be  arranged 


3. — CONNECTING  ELECTRIC  LAMPS 
IN  SERIES.  FIG.  4.— CONNECTING 
ELECTRIC  LAMPS  IN  PARALLEL. 
FIG.  5.  —  CONNECTING  ELECTRIC 
LAMPS   IN   PARALLEL   SERIES. 


438 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


in  parallel  -when  the  machine  is  wound  and 
driven  to  give  a  large  volume  of  current  at  a 
low  potential.  This  arrangement  is  shown  at 
Fig.  4,  and  consists  of  two  main  wires  bridged 
by  a  number  of  lamps.  As  each  lamp  forms  a 
conduit  for  the  current,  it  follows  that  a  large 
volume  of  current  must  be  employed,  and  as 
each  lamp  added  lowers  the  resistance  of  the 
circuit,  we  shall  only  need  a  current  of  low 
potential  to  overcome  the  low  resistance.  The 
potential  of  the  current  is  determined  by  that 
found  necessary  to  light  the  lamps,  as  expressed 
by  their  published  voltage.  The  volume  of 
current  needed  is  found  by  dividing  the  po- 
tential, or  E.  M.  F.,  by  the  total  resistance  of 

P 

the   circuit,   as   in   the   formula?,   g  v  =— .    A 

combination  of  the  two  methods  may  be  em- 
ployed if  thought  desirable,  and  one  suggestion 
for  doing  this  is  shown  at  Fig.  5.  It  consists 
in  having  two  main  lines  and  a  number  of 
branches  connecting  the  two  mains,  the  lamps 
on  each  branch  being  connected  in  series. 

If  the  mains  are  intended  to  carry  a  small 
current  at  a  high  potential,  as  when  a  number 
of  lamps  are  connected  in  series,  the  wires  may 
be  of  small  gauge,  say  No.  18  or  No.  1.6  B.W.G. ; 
but  when  a  large  volume  of  current  is  to  be 
carried  at  a  low  potential,  it  will  be  necessary  to 
have  mains  composed  of  several  small  wires 
twisted  together  to  form  a  cable.  The  safe 
carrying  capacity  of  a  No.  18  copper  wire  is  l-8 
amperes,  or  sufficient  to  light  one  lamp  of  high 
resistance.  A  No.  16  wire  will  safely  carry  3-2 
amperes  of  current,  and  may  therefore  be  em- 
ployed when  two  lamps  are  placed  in  parallel, 
or  when  a  low  resistance  lamp  is  placed  in  circuit. 
The  following  table  will  give  the  safe  carrying 
capacities  of  wires  and  cables  : — 
TABLE  OF  SAFE  CARRYING  OAPACITY  OF  WIRES 


Strands. 

No. 

Ampereo. 

Strands. 

No. 

Amp  ie.a. 

1    of 

18 

1-8 

7    of 

17 

174 

1      ,. 

17 

2-4 

7    „ 

16 

22-9 

1      „ 

16 

3-2 

7    „ 

15 

28-9 

1      >. 

15 

4-0 

7    ,i 

14 

35-6 

1      „ 

14 

5  0 

19    „ 

17 

479 

1      „ 

13 

60 

19    „ 

16 

624 

7    ,. 

20 

7-2 

19    ., 

15 

78-9 

7    i, 

19 

8-9 

19    „ 

14 

973 

7    „ 

18 

12  8 

19     „ 

13 

1282 

All  cables  and  wires  must  be  well  insulated, 
and  this  should  be  done  by  professional  wire- 
coverers,  the  wires  or  cables  being  ordered  for 
electric  lighting  purposes.  When  thus  well 
insulated,  there  need  be  no  apprehension  of 
danger  from  accidental  contact  of  the  wires  ; 
but,  notwithstanding  this,  the  wires  and  cables 
should  not  be  laid  together  under  one  staple. 
The  mains  are  best  held  in  wooden  cleats,  well 
varnished.  All  joints  should  be  made  with  the 
ends  of  the  wires  or  cables  twisted  tightly  to- 
gether, and  then  soldered,  after  which  they 
should  be  coated  with  some  such  insulating 
substance  as  Chatterton's  compound. 

When  groups  of  lamps  have  to  be  switched 
in  or  out  of  circuit,  the  switches  should  be  of 
massive  construction,  and  made  on  the  double 
contact  system,  to  prevent  sparking  and  conse- 
quent burning  of  the  contacts.  In  all  cases  the 
switches  should  be  of  substantial  make  when 
used  in  electric  lighting.  To  afford  some  idea 
of  the  power  required  to  light  incandescent 
electric  lights,  I  give  below,  in  tabular  form, 
the  candle  power  and  voltage  of  some  Edison- 
Swan  lamps,  the  information  being  culled  from 
the  Company's  price  list : — 

TABLE  SHOWING  POWER  REQUIRED  FOR 
EDISON-SWAN  LAMPS. 


Candle        v  lt 
Power. 

Amperes. 

Candle 
Power. 

Volts. 

Amperes. 

1 

2i 

2$ 

5 

5 

8 

8 

3 

5 
25 

5 

65 

10 

120 

0-8 

1-4 

0-45 

3-0 

0-35 

2-8 

0-3 

16 
16 
25 
25 
32 
32 
50 

15 
160 

40 
120 

40 
120 

40 

3-7 
0-4 
2-2 
0-7 
2-3 
0-9 
3-5 

It  will  be  noticed  that  those  lamps  which  take 
a  small  volume  of  current  to  light  them,  are  those 
having  a  high  resistance,  requiring  a  corre- 
sponding high  pressure  in  volts  to  force  the 
current  through  their  filaments. 

When  anything  like  a  fairly  large  installation 
of  electric  light  is  being  established,  it  is 
advisable  to  have  a  "  cut  out  "  placed  in  every 
lamp  circuit.  These  "  cut  outs "  are  small 
instruments,  similar  in  appearance  to  switches, 
but  with  the  bridge  made  of  fusible  tin  or  lead 
wire.     A  short  piece  of  this  wire  is  clipped  by 


PRACTICAL    ORGAN  BUILDING. 


439 


two  binding  screws  connected  to  the  two  ends 
of  the  wires  in  a  gap  of  the  main.  All  the 
current  going  to  the  lamps  must  pass  through 
the  wire  in  this  instrument,  which  is  made  to 
carry  only  the  maximum  volume  of  current 
bearable  by  the  lamps.  "When  this  is  exceeded 
to  a  dangerous  extent,  the  wire  fuses  and  cuts 
the  lamps  out  of  circuit.  As  the  price  of  these 
instruments  ranges  from  Is.  to  4s.,  and  the 
larger  ones  will  protect  some  fifty  or  more  lamps, 
costing  5s.  each,  the  economical  advantage  of 
employing  them  is  apparent.  They  can  be 
obtained  from  any  dealer  in  electrical  wares. 
The  fusible  wires  cost  from  3s.  to  4s.  per  pound, 
according  to  the  gauge.  When  ordering  these 
"  cut  outs,"  care  must  be  taken  to  state  the 
number  of  lamps  in  the  circuit,  their  candle 
power  and  voltage,  and  whether  arranged  in 
parallel  or  in  series.  These,  together  with  any 
other  electric  light  fittings,  may  be  obtained 
from  Messrs.  F.  0.  Allsop  and  Co.,  165,  Queen 
Victoria  Street,  London ;  Messrs.  J.  E.  Hartley 
and  Co.,  13,  St.  Paul's  Square,  Birmingham ; 
and  other  electrical  engineers. 


PRACTICAL  ORGAN    BUILDING. 

By  AN  ORGAN  BUILDER. 


VII.  —  Soundboard  (continued). 
LTIFi  pallets  are  all  bevelled  down,  as 
seen  in  Figs.  90,  91.  Out  of  tinned 
wire,  No.  1 6  gauge,  make  a  loop  for 
each  pallet  like  Fig.  92,  and  a  similar  quantity 
like  Fig.  93.  With  a  round  hollow  punch,  £ 
inch  diameter,  cut  out  some  discs  of  red  cloth ; 
bore  two  holes  near  to  each  edge,  open  the 
pallet  eye,  and  pass  the  cloth  in.  It  should  then 
show  like  Fig  92  (a). 

Bore  a  hole  in  each  pallet,  where  the  centre 
line  crosses  the  back  gauge  mark  mentioned 
when  the  pallet  pieces  were  being  made.  This 
hole  is  to  take  the  top  end  of  the  spring  s, 
Figs.  78,  79.  In  the  centre  of  the  front  gauge 
mark,  bore  a  hole  with  a  bradawl  on  the  slant, 
and  knock  in  one  of  the  eyes  into  each  pallet, 
as  seen  in  v,  Fig.  79. 

Now  comes,  perhaps,  the  most  particular  item 
of  organ  building ;  that  is,  bedding  the  pallets. 


Each  pallet  should  lay  quite  close  to  the  bars 
all  the  way  round,  and  j's  inch  on  the  cheek. 
There  must  not  be  the  least  bit  of  gap  anywhere. 
If  the  pieces  are  not  exactly  true,  fix  a  trying 
plane  in  the  bench  screw,  face  upwards,  and 
push  the  pallet  along  it,  to  take  off  a  shaving  in 
the  required  place. 

Three  thicknesses  of  the  best  unstrained 
leather  are  glued  together  in  pieces  9|  inches 
long  ;  as  much  will  be  required  in  width  as  the 
wind  chest  is  long  inside.  The  leather  will  be 
glued  so  as  to  leave  two  fleshy  sides  outwards  ; 
when  dry,  it  must  be  pulled  all  ways,  to  break 
the  joint  of  the  glue,  which  will  make  the  leather 
more  pliable.  Both  sides  are  now  dressed  with 
whitening  and  coarse  glasspaper  on  a  rubber. 
The  leather  is  then  laid  on  a  perfectly  true 
board,  and  the  pallets  are  glued  on  to  it  in  a 
straight  line.  The  leather  will  be  glued  for  the 
surface  to  be  covered  by,  say,  three  pallets,  and 
the  wood  well  rubbed  backwards  and  forwards 
to  make  sure  that  the  leather  and  pallet  are 
close  together.  When  quite  dry,  glue  a  strip 
of  leather  3 J  inches  wide  along  the  back;  1| 
inches  of  it  going  on  to  the  bevel  of  the  pallet, 
and  the  remainder  on  to  the  leather  projecting. 
The  strip  must  be  well  rubbed  down  in  the 
corner  where  the  bevelled  end  of  the  wood  meets 
the  leather.  The  pallets  are  then  separated. 
The  leather  at  the  back  end  is  first  trimmed 
level  with  the  bevel  on  the  sides,  and  then  a 
sharp  knife  cuts  between  every  pallet,  and 
through  the  leather.  Never  attempt  to  take  off 
a  pallet  before  the  leather  is  completely  cut 
through. 

Tack  a  fillet  along  the  front  cheek,  r\  inch 
from  the  end  of  the  bar,  and  clear  the  channels 
of  all  borings  or  bits  of  shaving  that  may  be 
lodged  between  the  bars.  Every  atom  of  loose 
wood  must  be  taken  out ;  otherwise  it  will  fall 
on  to  the  pallet,  and  prevent  it  from  shutting 
quite  close.  Glue  a  piece  of  glasspaper  on  to  a 
piece  of  1  inch  stuff,  planed  quite  true.  Draw 
each  pallet  across  a  lump  of  whitening  from 
back  to  front,  lay  it  quite  flat  on  the  glasspaper, 
and  draw  it  three  times  along  in  the  same 
direction.  After  all  are  served  in  this  way,  glue 
the  leather  for  2  inches,  put  the  front  of  the 
pallet  close  up  to  the  fillet,  see  that  it  lays  quite 


440 


PRACTICAL    ORGAN  BUILDING. 


FIG. 90 
C.CPaJM, 
3  FtxZZ  3TJCC 


FIO. 98. 
SmkZ&W. 


\T\ 


FIO  f)\.ScOiey.1ft 
Front  new  ofstx  lowest  iwtes 


o 

0 

0 

O 

o 

0 

o 

0 

FIC 

39.  Scale Z'-J/t 

o 


o 
o 

O 

o 

! 

P3*= 

FIC  100.  Scale 2"  M 

FIC  94.  A.  Scale  J  Jft 


F I  0  93 

parallel  over  the  groove,  and  press  it  down  at 
the  tail  with  a  leather  stick. 

Over  the  tail  pieces  will  be  fixed  fillets,  J  inch 
thick  and  £  inch  wide.  Any  number  of  pieces 
may  be  used  ;  they  are  fixed  with  brads  driven 
partly  into  the  bars,  and  are  placed  £■  inch  away 
from  the  end  of  the  wood,  to  prevent  the  pallet 
springing  up  when  the  brads  are  driven  in. 
The  piece  is  shown  in  Fig.  79  (x). 

The  bottom  board  must  now  be  finished. 
Mark  the  centres  of  all  the  grooves  on  the  front 
edge,  and  square  them  across  for  4  inches  with 
a  marking  point.  On  each  side  run  a  gauge 
mark  along  2\  inches  from  the  front  edge,  and 
bore  a  §  inch  centre-bit  hole  where  the  lines  cross 
one  another.     Get  a  strip  of  thin  brass  1 J  inches 


— © 


FIC. 97 

Scale  J] ft 

wide  and  2|  inches  less  in  length  than  the  sound- 
board ;  fix  it  to  the  under  side  of  the  bottom 
boards  with  tacks.  Run  the  gauge  mark  along 
at  2|  inches  from  the  edge,  and  mark  the  centres 
of  the  grooves  on  it.  "Where  the  lines  intersect, 
a  small  hole  has  to  be  pierced  through  the  brass 
sufficiently  large  to  allow  the  pieces  of  wire,  No. 
16  gauge,  made  like  Fig.  93,  to  pass  through. 
The  hole  may  be  made  with  a  very  fine  bradawl, 
or  it  may  be  drilled,  if  a  drill  can  be  obtained. 
The  wire  should  only  have  just  sufficient  room 
to  pass  through ;  on  no  account  must  it  be 
tight,  and,  on  the  other  hand,  it  must  not  rattle 


PRACTICAL    ORGAN  BUILDING. 


441 


in  the  hole.  The  brass  is  then  glued  down,  and 
held  in  its  place  with  tacks.  A  piece  of  stuff, 
shaped  like  a  r,  Fig.  79,  the  same  length  as 
the  brass,  will  be  glued  and  bradded  on  each 
side  of  the  brass  at  \  inch  from  the  centre. 
These  pull-down  guards  should  be  prepared  so 
that  they  may  be  put  on  at  the  same  time  as  the 
brass.  The  inside  of  the  bottom  board  is  then 
sized,  and  if  any  knots  are  in  it,  they  are  covered 
with  patches  of  leather.  Strips  of  leather  are 
glued  along  the  back  edge  and  ends,  to  keep  the 
joint  perfectly  air-tight. 

Now  make  a  spring  rail,  t,  Fig.  79,  by  glueing 
a  piece  of  thin  mahogany,  \\  inches  wide,  on  to 
a  piece  of  pine  2i  inches  wide,  £  inch  thick  on 
one  edge,  and  &  inch  on  tho  other.  Set  a 
gauge  to  mark  a  line  J  inch  from  the  front  edge 
of  the  pine;  fit  it  to  the  bottom  board  with 
four  |  inch  screws,  and  mark  the  centres  of  the 
grooves  on  the  top  side  of  the  pine  and  the 
inside  of  the  mahogany.  With  a  dovetail  saw, 
cut  down  the  back  piece  just  outside  the  square 
line,  holding  the  saw  a  little  on  the  slant.  The 
pieces  between  the  saw  kerfs  will  be  then 
knocked  out  to  leave  a  space,  in  the  front  side 
of  the  mahogany,  sufficiently  large  to  allow  a 
piece  of  No.  15  wire  to  pass  up  and  down 
easily.  This  is  fixed  to  the  inside  of  the  bottom 
board,  and  after  the  strips  round  the  inside  have 
been  whitened  and  rubbed  with  glasspaper,  the 
bottom  board  is  screwed  down  in  its  place. 

Out  of  No.  16  hardened  brass  wire,  make  for 
each  pallet  a  spring  like  Fig.  94  ;  to  manage 
this,  a  spring-making  tool  must  be  constructed, 
as  seen  in  Fig.  97 — a  side  view  of  the  tool  com- 
plete. Out  of  1 J  inch  hard  wood,  cut  two  pieces 
to  finish,  14  inches  long  and  1 J  inch  wide  ;  screw 
them  together,  round  the  top  end,  and  bore  a 
f  inch  hole  2  inches  from  the  top,  to  show  like 
Fig.  95.  Finish  two  pieces  7\  inches  long,  ^inch 
thick,  shaped  like  Fig.  96.  At  If  inches  from 
the  top  end  of  each,  cut  a  %  inch  square  hole  ; 
and  at  the  other  end  of  one,  bore  a  hole  \  inch 
diameter.  At  4|  inches  from  the  centre  of  the 
square  hole  of  the  other  piece,  knock  in  a  staple 
and  a  piece  of  straight  wire  on  a  level  with  the 
top  leg  of  the  staple,  only  ft  inch  away  from  it. 
These  are  marked  in  Fig.  97,  and  are  seen 
marked  by  the  three  dots  on  Fig.   96.     Make  a 


centre  out  of  lignum  vitas,  as  shown  in  Fig.  96,  A. 
It  consists  of  a  piece  of  stuff  f  inch  square,  and 
i\  inches  long,  to  start  with.  The  block  is  left 
square  for  \\  inch  on  one  end,  then  comes  a 
round  pin  1  \  inches  long,  and  £  inch  diameter ; 
another  square  piece  }§  inch  long,  and  a  round 
pin  f  inch  diameter,  for  the  piece  that  is  left.  A 
handle  must  be  turned  to  the  shape  of  Fig.  96,  B, 
4  inches  long,  with  a  \  inch  pin  on  one  end. 
To  fasten  the  parts  together,  put  the  square 
parts  of  the  centre  (96,  A),  into  the  holes  cut  in 
the  two  arms,  and  fasten  them  with  a  small 
screw  ;  take  out  the  two  screws  in  the  long  piece, 
put  the  round  part  of  Fig.  96,  A,  in  between,  and 
put  together  again.  The  centre  must  not  be 
tight  at  this  point.  When  the  handle  is  fixed, 
the  machine  is  ready  for  use.  To  make  the 
springs,  first  cut  off  some  pieces  of  wire  14 
inches  long,  straighten  them,  and  turn  a  hook 
i  inch  long  on  one  end ;  fix  the  spring-maker  in 
the  bench  screw,  put  the  hook  into  the  staple 
over  the  piece  of  wire  (see  Fig.  97,  this  keeps 
the  hook  in  its  place),  with  one  hand,  hold  the 
handle  away  from  you,  with  the  arms  in  a  hori- 
zontal position,  and  with  the  other  hand  grip  the 
end  of  the  long  piece  of  wire  with  a  pair  of  pliers. 
Turn  the  handle  round  three  times,  and  finish 
the  stroke  with  the  ends  of  the  arms  toward 
you.  The  whole  number  are  done  in  this  way, 
and  afterwards  shaped  like  Fig.  94.  They  are 
also  bent  near  the  coil  with  round-nosed  pliers, 
as  seen  in  Fig.  94,  A.  Great  care  must  be  taken 
over  the  springs,  as  one  is  apt  to  leave  them  with 
the  legs  different  lengths,  and  different  curve. 
Hold  them  separately  between  the  thumb  and 
forefinger,  to  see  that  the  two  hooks  are  straight 
with  one  another ;  if  they  are  not,  twist  them 
into  shape  with  the  pliers. 

One  end  of  the  spring  is  put  into  the  pallet, 
the  other  into  the  hole  in  the  spring  rail ;  the 
groove  cut  in  the  back  of  the  spring  rail  prevents 
the  spring  from  working  sideways. 

The  pull-down  wires  (Fig.  93)  are  now  bent 
slightly  for  £  inch  from  the  end  ;  each  one  is  put 
through  the  hole  in  the  brass  on  the  bottom 
board,  and  turned  over  where  it  was  bent,  to 
form  a  right  angle.  This  piece  is  connected  with 
the  pallet,  by  passing  the  J  inch  end  underneath 
the  disc  of   cloth  in  the  pallet  eye,  and  bent 


442 


PRACTICAL    ORGAN  BUILDING. 


upwards,  as  seen  in  Fig.  91.  The  cloth  prevents 
any  rattling,  which  would  necessarily  exist  if  the 
wires  were  simply  hooked  in  each  other. 

A  piece  of  stuff  \\  inches  wide,  f  inch  thick, 
\  inch  longer  than  the  internal  length  of  the 
wind  chest,  is  put  into  the  mortises  made  in  the 
inside  of  the  cheeks.  One  end  is  inserted  in 
its  place,  and  the  slip  is  bent  until  the  other  will 
find  its  position.  It  will  need  nothing  to  fix  it. 
The  piece  of  mahogany  (Fig.  80)  is  then  put  in 
its  place;  the  front  boards  are  bedded  round 
with  strips  of  leather,  sized,  holes  burnt 
through  the  leather,  the  strips  well  whitened, 
and  screwed  quite  tight.  The  work,  so  far,  is  left 
for  the  present. 

Thirty  three  rack  pins  will  have  to  be  put  in, 
to  keep  the  rack  board  at  a  proper  distance  above 
the  upper  board.  They  may  be  placed  anywhere 
over  a  bar,  so  long  as  it  will  not  interfere  with  a 
groove.  Fig.  84  and  l,  Fig.  78,  represent  these 
pillars.  They  look  nicest  turned  out  of  hard 
wood,  but  they  may  be  made  square  with  a  \ 
inch  pin  turned  on  each  end.  The  distance  from 
shoulder  to  shoulder  must  be  exactly  alike  on 
all  of  them,  and  the  pins  must  fit  tight  in  the 
holes  bored  in  the  upper  boards  and  rack  boards. 
There  is  a  great  tendency,  while  boring  these 
holes,  to  lean  either  one  way  or  another,  so  I 
would  advise  anyone  making  them,  to  frequently 
alter  the  position  of  the  boards,  otherwise  the 
rack  board  will  not  be  directly  over  the  upper 
board ;  the  effect  of  this  will  be  to  throw  the 
pipes  all  out  of  upright ;  and  nothing  could  pos- 
sibly look  worse  than  pipes  leaning  in  all 
directions. 

The  rack  board  is  laid  over  the  upper  board, 
and  a  hole  bored  through  the  former  until  the 
centre  of  the  bit  marks  itself  on  the  latter  ;  the 
hole  is  then  bored  in  the  mahogany  to  its 
required  depth,  with  the  rack  board  off.  The 
two  pieces  must  be  held  together  with  the  wire 
steady  pins.  If  the  place  for  the  rack  pin  is 
covered  by  the  veneer,  a  hole  must  be  made  to 
allow  the  shoulder  to  come  close  to  the  upper 
board ;  and  in  a  similar  way,  if  the  veneer  cover 
the  screws,  a  \  inch  hole  must  be  made  to  corre- 
spond with  those  in  the  rack  board. 

The  grooving  of  the  upper  board  must  now  be 
finished  ;  the  5th,  6th,  and  7th  note  on  the  left, 


and  the  4th,  5th,  and  6th  on  the  right,  must 
have  holes  bored  through  the  veneer  1  inch  in 
diameter.  In  other  instances,  where  a  greater 
number  of  pipes  are  required  for  the  front,  a 
larger  number  of  these  holes  will  be  made,  as 
they  are  to  take  the  end  of  a  metal  conveyance 
tube,  to  carry  the  wind  off  the  soundboard  to  the 
position  of  the  pipe.  In  cases  (Fig.  1  and  2), 
however,  only  seven  will  be  required.  It  must 
be  remembered  that  in  planting  the  patterns  for 
wood  pipes,  much  more  room  is  required,  and 
more  grooving  has  to  be  done.  The  front  upper 
board  in  Fig.  82  is  set  out  for  metal  pipes.  All 
the  grooves  must  be  painted  over  with  size,  to 
fix  any  rags  that  may  be  left  after  the  cleaning 
out  of  the  wood  between  the  centre-bit  holes. 

When  the  size  is  dry,  the  top  side  of  the  upper 
board  is  smoothed  over,  the  ends  and  edges  are 
cleaned  off,  the  under  side  is  planed  quite  smooth 
and  true,  and  scored  with  a  V  tool,  in  a  similar 
way  as  the  top  side  of  the  table. 

The  next  operation  is  the  laying  of  the 
veneers.  Look  carefully  over  the  boards  to  make 
sure  that  all  the  holes  are  bored  for  each  separate 
pipe,  and  see  that  each  note  has  its  groove,  if 
grooving  has  to  be  done.  It  is  most  mortifying 
to  find  that  a  pipe  has  no  wind  after  the  veneer 
is  laid. 

The  bottom  side  of  the  veneer  is  well  toothed, 
and  the  top  surface  of  the  upper  board  that  is  to 
be  covered,  is  served  in  like  manner.  The  veneer 
is  made  quite  hot,  the  top  side  made  wet,  and  a 
piece  of  thick  stuff  is  laid  over  it,  and  another 
piece  under  the  upper  board,  and  all  are  held 
together  with  handscrews  until  the  glue  is  hard. 
The  veneers  may  be  fixed  with  J  inch  brads,  if 
handscrews  are  scarce;  if  the  veneer  projects 
beyond  the  upper  board,  it  is  planed  level,  and 
the  top  is  smoothed  over  after  it  is  glued  down. 
The  upper  board  is  laid  on  the  bench,  with 
slips  of  wood  to  keep  the  bottom  from  bruises 
and  scratches,  and  the  rack  pins  are  knocked  in  ; 
the  short  end  is  put  into  the  mahogany.  The 
rack  board  is  then  knocked  on  the  top  of  the 
rack  pins,  right  down  to  the  top  shoulder. 

The  pipes  have  now  to  be  fitted  in.  A  block 
is  made  exactly  the  length  of  the  distance  be- 
tween the  rack  board  and  upper  board,  and 
another  to    fit    between   the  veneer   and  rack 


PRACTICAL    ORGAN  BUILDING. 


443 


board.  The  blocks  should  be  about  2h  or  3 
inches  square ;  they  are  placed  under  the  rack 
board,  under  the  centre  of  the  pipe,  to  be  fitted 
in,  and  a  hole  is  bored  as  near  to  the  size  of  the 
pipe  as  the  bits  will  go  ;  smaller,  rather  than 
larger.  If  the  hole  is  not  sufficiently  large,  it  is 
rubbed  away  all  round  with  a  half-round  rasp, 
until  the  pipe  fills  it  moderately  tight,  so  that 
the  tip  will  go  into  the  hole  in  the  upper  board. 
The  centre  of  the  patterns  pricked  on  the  rack 
board  will  give  the  position  of  the  centre  of  the 
pipes.  The  blocks  take  the  centre  of  the  bits, 
and  prevent  them  from  breaking  out  the  rack 
board  underneath.  Take  particular  pains  to  fit 
the  pipes  in  upright.  The  feet  of  wood  pipes 
are  fitted  into  the  rack  board,  and  then  they 
are  glued  into  the  pipes,  which  are  set  perpen- 
dicular, and  left  to  dry  in  their  places.  After 
all  the  fitting  in  has  been  done,  the  rack  boards 
are  knocked  off,  and  smoothed  over  all  round. 

The  bearers  are  to  be  covered  with  a  strip  of 
cartridge  paper  from  end  to  end,  the  sliders  put 
in  their  places;  and  after  having  rubbed  the 
bottom  side  of  the  upper  boards  with  chalk,  and 
picked  out  every  little  piece  of  chip  and  dust, 
they  are  screwed  down  sufficiently  tight  to  allow 
the  sliders  room  to  move  fairly  easy,  and  the 
rack  boards  are  again  put  on. 

The  soundboard,  now  complete,  is  put  into  its 
place  on  the  top  of  the  gallows  rail  (a,  Fig.  5). 
Two  J  inch  dowels,  1J  inches  long,  are  glued 
into  each  of  these  rails,  leaving  \  inch  project- 
ing ;  one  will  put  2  inches  from  the  front,  and 
the  other  3  inches  from  the  back,  in  the  middle 
of  the  gallows  rail.  Two  \  inch  holes  will  be 
bored  in  the  bottom  board,  and  two  in  the  piece 
fastened  on  the  back  end  of  the  wind  chest  end 
cheeks ;  they  must  be  so  arranged  that  when 
the  soundboard  is  in  position,  the  four  holes  will 
take  the  ends  of  the  four  dowels  in  such  a 
manner  that  the  front  board  will  be  flush  with 
the  front  end  of  the  gallows  rail,  and  the  ends 
of  the  soundboard  flush  with  the  outsides  of  the 
same  rails.  No  other  fixing  will  be  required  to 
hold  the  soundboard  in  its  place ;  the  weight  on 
the  top  will  keep  it  down,  and  the  dowels  pre- 
vent it  from  moving  either  front  and  back,  or 
sideways. 

The  wind  from  the  bellows  must  now  be  con- 


veyed to  the  soundboard ;  an  oblong  trunk  is 
made  8  inches  wide  by  2  inches  deep  (internally), 
and  fastened  at  the  top  over  the  hole  in  the 
wind  chest  cheek,  and  at  the  bottom  it  is  fixed 
over  the  aperture  in  the  lining  of  the  bellows. 

The  total  finished  length  of  the  wind  trunk 
will  be  4  feet ;  to  this  measurement  will  be 
added  3j  inches  to  allow  for  mitreing,  so  that  in 
glueing  up,  the  pieces  required  should  be  4  feet 
5  inches  long.  The  sides  will  be  made  out  of 
1  inch  stuff,  and  the  front  and  back  will  be 
\  inch  thick ;  the  pieces  are  sized  inside,  and 
glued  and  nailed  together.  After  the  trunk  has 
been  planed  up,  one  end  is  filled  in  with  a  piece 
of  1  inch  pine ;  two  pieces  of  birch  for  collars 
1  inch  thick,  1 3  inches  long,  Z\  and  3^  inches 
wide,  respectively,  will  have  two  holes  cut  in 
them,  as  shown  in  Figs.  99  and  100.  The  space 
in  the  former  will  be  8  inches  by  2  inches ;  and 
the  latter  8J  inches  by  1\  inches.  Fig.  99  is 
glued  and  screwed  to  the  top  end  of  the 
trunk,  as  seen  in  Fig.  98  ;  the  front  of  the  trunk 
is  then  cut  to  correspond  with  the  hole  in  the 
collar.  The  lower  end  of  the  trunk  must  be 
mitred,  and  the  end  of  the  short  return  piece 
will  be  rebated  to  fit  tight  in  the  collar  (Fig. 
100).  The  pine  should  pass  a  trifle  through  the 
birch,  to  allow  for  cleaning  off  after  the  glue  is 
dry.  A  block  is  glued  and  screwed  in  the  angle 
of  the  mitre.  The  collars  are  covered  with  a 
piece  of  good  thick  leather,  and  strips  are  put 
round  the  mitre,  in  the  corner  where  the  collar 
meets  the  trunk,  and  a  piece  covers  the  whole  of 
the  top  end.  The  piece  of  leather,  when  dry, 
is  cut  out  of  the  collars,  has  the  holes  burnt 
through  with  a  hot  iron  where  the  screws  are 
to  come,  and  well  whitened.  The  trunk  is  next 
fixed  at  the  top,  so  that  the  hole  corresponds 
exactly  with  that  in  the  wind  chest  cheek,  and 
the  four  screws  are  put  in  at  the  bottom.  Two 
£  inch  holes  may  be  bored  through  the  upright 
stile  of  the  framework,  to  allow  the  screws  to 
pass  through  at  the  bottom.  Fig.  98  represents 
the  top  and  bottom  ends  of  the  wind  trunk. 

Having  proceeded  so  far,  the  bellows  handle 
should  be  moved  to  ascertain  if  any  wind 
escapes ;  if  any  air  happens  to  find  an  exit,  no 
matter  how  small  the  amount,  alter  it  at  once, 
as  the  place  may  be  awkward  to  get  at  later  on. 


444 


SIMPLE   ORNAMENTAL    TURNING. 


SOME  CHAPTERS  ON 
SIMPLE  ORNAMENTAL  TURNING. 

By  J.  L.  EWYER. 


V. — Cutting  Screws  in  the  Lathe— Index  Pointer- 
Stops— Best  Slide  Rest  for  Ornamental  Turning. 

WILL  just  mention  an  application  of 
the  overhead  which  I  have  used  with 
success,  and  that  is  its  adaptability  to 
enabling  the  operator  to  cut  screws  in  the  lathe. 
In  a  former  number  of  Amateur  Work,  there 
is  an  article  which  describes  how  screws  may  be 
cut  in  an  ordinary  lathe  by  using  two  bands, 
and  a  number  of  different  sized  pulleys.  One 
band  transmits  motion  from  the  mandrel  to  a 
back  shaft,  the  other  from  the  back  shaft  to  a 
pulley,  placed  on  the  slide-rest  screw  instead  of 
the  handle.  This  plan  I  used  very  successfully 
for  some  time,  but  it  was  rather  a  bother  to  keep 
both  bands  tight ;  and  on  making  a  change  in 
my  lathe,  I  was  glad  to  relinquish  it  for  another. 
Now  I  have  pulleys  of  different  sizes,  which  I 
screw  to  the  back  of  the  face-plate ;  a  band  then 
passes  from  one  of  these  pulleys  over  the  direc- 
tion-pulleys, to  a  pulley  on  the  slide-rest  screw. 
Fig.  32  will  explain  what  I  mean.  It  will  be 
seen  that  out  of  one  thickness  of  wood,  I  cut  two 
pulleys  for  the  back  of  the  face-plate,  and  four 
for  the  slide-rest. 

The  band  is  kept  tight  by  the  weight  which  I 
increase  for  such  use.  The  slip  is  reduced  to  a 
minimum,  because  it  is  only  between  two  pul- 
leys, not  four;  and  the  whole  arrangement  is 
very  simple  and  efficacious.  Instead  of  the 
pulleys  at  back  of  face-plate,  the  cone  on  man- 
drel would  do,  but  mine  does  not  happen  to 
have  steps  of  a  convenient  size. 

The  index  pointer  (Fig.  S3)  will  not  present 
any  great  difficulty.  Mine  is  made  of  a  piece 
of  saw  steel,  of  the  shape  shown,  Fig.  34.  To 
one  end  is  rivetted  a  shank  of  J  inch  round 
steel,  and  to  the  other  the  point  which  has  a 
shank  passing  through  the  knob,  and  rivetted  at 
the  end,  thus  keeping  all  tight. 

A  stud  screwed  into  the  headstock,  with  a  J 
inch  hole  horizontally  through  it  (Fig.  35),  takes 
the  shank  of  the  pointer,  and  is  so  placed  that, 
when  the  point  is  in  one  of  the  holes  of  the 


division  plate,  it  is  pressed  against  it  by  the 
spring  with  some  little  force ;  it  will  thus  pre- 
vent the  mandrel  from  turning  until  it  is 
released.  I  do  not  give  dimensions  of  the 
pointer,  because  they  will  depend  on  the  height 
of  the  lathe  centres  ;  it  is  only  necessary  to  note 
that  the  point  should  be  a  little  above  the  man- 
drel, so  that  it  will  escape  the  shadow  of  the 
latter,  when  the  light  comes  from  the  back  of 
the  lathe,  which  it  usually  does. 

We  are  now  in  a  position  to  do  some  work  in 
ornamental  turning,  but  we  want  tools  for  the 
cutters.  That  is  easily  mended.  Get  a  piece  of 
\  inch  round  steel,  file  a  step  at  the  end,  f  inch 
long,  half  through,  then  point  the  half-round 
part,  giving  plenty  of  clearance,  cut  off  1  inch 
of  the  steel,  twist  a  piece  of  wire  round  it,  put  it 
in  the  fire  till  red-hot,  plunge  into  cold  water, 
brighten  cutting  part  on  oilstone,  hold  over  a 
spirit-lamp  until  the  colour  becomes  straw, 
plunge  again  into  water,  and  you  have  a  tool 
beautifully  tempered,  and  which  will  fit  either 
cutter.  Figs.  37,  38,  39,  and  40  are  other  cutters 
made  in  the  same  way.  In  Fig.  37,  all  the  filing 
is  done  from  one  side  ;  Fig.  38,  is  for  doing  an 
ornamental  moulded  circle ;  Fig.  39,  is  with  a 
chisel  point;  and  Fig.  40,  is  for  the  fluting 
cutter  for  cutting  cog-wheels. 

Having  made  Fig.  36,  we  will  begin  to  work  : 
We  first  fasten  a  piece  of  hard  wood  to  the  face- 
plate, either  by  glue  or  with  screws ;  then  we 
turn  it  on  the  edges  and  face,  using  the  slide- 
rest.  We  then  unship  the  lathe  band,  put  the 
eccentric  cutter  into  the  slide-rest,  put  the  over- 
head band  round  fly-wheel,  direction-pulleys, 
and  cutter,  and  start.  The  cutter  will  revolve 
very  rapidly  as  the  fly-wheel  is  worked.  Then 
we  stop,  put  a  tool  in  the  cutter,  draw  the  slide 
out  of  centre  till  the  tool  .point  describes  a  circle 
of  about  1  inch  in  diameter ;  then  we  bring  the 
cutter  up  to  the  surface  of  the  wood,  and  see 
that  the  circle  cut  by  it  is  the  same  depth  all 
round  ;  if  not,  we  move  the  slide-rest  till  the  axis 
of  the  cutter  is  just  parallel  to  the  axis  of  the 
lathe  centres,  and  then  it  will  be  all  right: 

All  this  can  be  done  without  marking  the 
wood  at  all;  we  simply  see  that  the  point  of 
the  tool  would  touch  it  all  round  when  revolving. 
We  then  ship  the  index  pointer,  and  put  it  at  the 


SIMPLE   ORNAMENTAL    TURNING, 


445 


zero  of  one  of  the  circles,  let  us  say  100 ;  we  then 
drive  the  fly-wheel,  advance  the  tool  with  the 
slide-rest  handles,  and  cut  a  circle,  one  point  of 
which,  we  assume,  corresponds  with  the  centre 
of  the  wood;  we  now  change  the  pointer, 
putting  it  in  the  second  hole,  thus  skipping 
one ;  we  then  cut  another  circle.  Now  a  difficulty 
presents  itself ;  the  circles  are  all  the  same  size  ; 


slide  a  stop  like  Fig.  41  would  do.  If  a  screw 
with  a  large  head  is  passed  through  the  slot,  and 
threaded  into  the  slide,  hy  moving  the  stop,  and 
tightening  the  screw,  the  tool-holder  would  be 
stopped  at  any  desired  point.  There  is  a  danger 
in  this  plan  of  over-riding  {i.e.,  pushing  forward) 
the  stop,  unless  the  screw  is  very  tightly 
fastened  ;  this  is  especially  the  case  when  the 


1 

1 

1 

pre  **. 

u 

nG   45 


they  would  he  all  the  same  distance  apart  (the 
division  plate  would  regulate  that),  but  there  is 
nothing  to  prevent  our  going  deeper  in  one 
than  the  other,  and  that  would  spoil  the 
uniformity,  which  is  the  chief  beauty  in  orna- 
mental turning.  Stops  are  to  limit  the  depth 
to  which  the  cut  can  be  taken,  and  their 
construction  will  depend  on  the  make  of  the 
sUde-rest.  If  the  rest  has  the  lower  slide  fixed 
at  right  angles  to  the  lathe  bed,  for  the  upper 


rest  is  small,  and  the  screw  consequently  of 
small  size.  I  use  a  stop  which,  I  suppose,  I 
invented,  having  never  seen  it  used  by  anybody 
else;  it  is  shown  at  Fig.  42,  and  in  use  at 
Fig.  43  ;  owing  to  its  wedge  shape,  even  if  the 
screw  were  loose,  there  would  be  very  little 
danger  of  over-riding  it;  it  is  made  of  plate 
iron,  about  ■&  inch  thick. 

For  the  lower  slide  we  require  two  stops,  one 
to  prevent  it  going  in  too  far,  and  the  other  to 


446 


THE  ELECTRIC  BELL. 


prevent  it  coming  out  too  far.  It  is  not  so  easy 
to  arrange  these  stops,  especially  when  the  lower 
slide  has  an  apron  extending  over  the  entire 
saddle.  A  good  plan  is  to  have  a  pair  of  stops, 
like  Fig.  44.  Fig.  45  shows  how  they  are 
secured  to  the  slide  by  screws,  and  how  they 
would  limit  its  motion  either  backward  or 
forward ;  they  should  be  placed  at  the  side  of 
the  slide,  where  the  screws  for  taking  up  wear 
are  not  in  the  way. 

The  best  sort  of  slide-rest  for  ornamental 
turning  is  that  with  a  sole-plate,  like  a  hand- 
rest,  extending  across  the  bed,  and  in  this  the 
plan  of  stops  would  be  usually  reversed — two, 
like  Fig.  41  or  42,  being  for  the  lower,  which  is 
in  this  case  the  parallel,  slide ;  and  one  like 
Fig.  44,  for  the  top,  which  is  the  cross-feed. 

It  is  only  fair  to  say  that  there  are  stops  better 
than  this  I  describe,  but  they  are  fitted  usually 
to  elaborately  ornamented  turning  lathes,  cost- 
ing, perhaps,  hundreds  of  pounds,  and  would  be 
little  good  to  turn  a  bar  of  cast  steel  or  a  rough 
casting.  My  object  is  rather  to  guide  those 
in  my  own  condition,  and  who  wish  to  have 
such  attachments,  yet  require  their  lathes  more 
frequently  for  heavy  or  general  work.  I  hope 
my  efforts  will  not  be  in  vain. 

We  have  now  eccentric  and  fluting  cutters, 
with  tools,  division  plate,  pointer,  overhead,  and 
stops.  We  are  quite  prepared  for  work.  In  my 
next  paper  I  hope  to  describe  various  patterns 
which  can  be  done. 


THE   ELECTRIC    BELL: 

AND    HOW    TO    CONSTRUCT    IT. 
By  JNO.    H.  MILNE. 


-Varieties  of  the  Electric  Bell. 
IN  the  present  article  we  shall  describe 
the  construction  of  the  following 
classes  of  bells: — (1)  The  single- 
stroke  bell;  (2)  the  continuous  ringing  bell; 
(3)  the  Jansen  bell;  (4)  arrangement  for  ring- 
ing one  bell  from  several  places,  several  bells 
from  one  place,  etc.  ;  (5)  pushes  and  switches; 
(6)  line  wires,  the  preparation,  laying  down,  etc. 
1.  The  single-stroke  bell  is  of  greater  simpli- 
city than  the  trembling  or  vibrating  bell.     The 


construction  will  readily  be  seen  from  Fig.  1 1  ;  it 
consists  of  the  usual  magnet,  wound  with  silk 
or  cotton-covered  wire,  a  a,  the  armature,  b,  the 
pillar,  c,  holding  a  simple  screw-stop,  d,  to  limit 
the  movement  of  the  armature,  b,  and  the 
usual  bell. 

It  will  be  noticed  in  this  class  of  bell  that  there 
is  no  platinum-tipped  contact  spring  in  connec- 
tion with  the  armature.  The  magnets  are  wound 
in  the  ordinary  manner  with  insulated  wire,  as 
described  in  former  articles  on  ' '  The  Electric 
Bell ";  but,  instead  of  one  wire  passing  from  the 
coils  to  the  armature,  and  another  wire  passing 
from  the  contact  post  to  the  terminal,  as  in  the 
trembling  bell,  the  wire  simply  passes  from  the 
terminal  to  the  one  bobbin,  round  it  to  the  next, 
and  then  to  the  second  terminal,  as  shown  in  the 
diagram.  The  reader  will  fully  understand  the 
arrangement  on  reference  to  the  figure,  the 
course  of  the  current  being  shown  by  the  arrows. 
When  the  circuit  is  closed  or  completed,  and  the 
current  passes  round  the  magnets,  they  attract 
and  hold  down  the  armature  as  long  as  it  con- 
tinues. The  moment  the  circuit  is  broken,  the 
armature  flies  back  to  its  position,  which  is  fixed 
by  the  regulating  screws  at  d. 

It  will  be  seen  that  if  a  succession  of  strokes 
are  required,  the  operator  must  press  the  push 
as  often  as  he  wishes  to  produce  a  stroke,  or, 
of  course,  use  some  mechanical  contrivance  to 
obtain  a  like  result. 

The  reader  will  perhaps  remember  that  in  the 
article  on  the  vibrating  bell,  the  manner  of 
adjusting  the  armature  in  order  to  procure  the 
best  ringing  power  was  explained.  It  was  shortly 
this  :  when  the  armature  is  attracted  forward  by 
the  magnet,  and  the  hammer-head  is  in  contact 
with  the  bell,  the  armature  should  be  free  from 
contact  with  the  cores  of  the  magnet,  and  there 
should  be  sufficient  space  to  allow  a  thin  visiting 
card  to  pass  between,  otherwise  a  rapid  beat- 
ing sound  will  be  heard,  being  the  result  of  the 
armature  hitting  the  cores  of  the  magnets. 

In  adjusting  the  single-stroke  bell,  the  reverse 
is  the  case.  When  the  armature  touches  the 
cores  of  the  magnets,  the  hammer-head  should 
be  slightly  separated  from  the  bell.  On  con- 
sideration, the  reason  will  be  clear.  If  a  cur- 
rent passes  through  the  coils,  and  attracts  the 


THE  ELECTRIC  BELL. 


-147 


}>aitery,olsowZFt 
from  +pole  of  local, 
~baltery 


armature,  if  the  principle  of  the  vibrating  bell 
were  adopted,  the  hammer  would  hit  the  bell, 
and  remain  on  it  till  the  current  ceased  and 
allowed  the  armature  to  spring  back,  thus  pre- 
venting all  vibration  of  the  bell ;  consequently, 
instead  of  a  ring,  there  would  merely  be  a  dead 
thump.  As  it  is,  however,  when  the  armature 
his  drawn  to  the  magnets,  and  held  there,  the 
ammer-head  strikes  the 
bell,  owing  to  the  elas- 
ticity of  the  hammer  jMurltmteani}< 
lever,  then  springs  back  £$?$£££ 
to  the  position,  slightly 
removed  from  the  bell  ; 
thus  the  vibrations  of  the 
bell  are  not  interfered 
with,  although  the  mag- 
nets retain  the  armature. 

The  single-stroke  bell  is  very  con- 
venient when  used  for  signalling  to 
a  limited  extent ;  it  is  also  more 
suitable  than  the  vibrating  bell, 
where  two  bells  are  intended  to  work 
simultaneously  on  the  same  line. 

If  a  vibrating  bell  be  on  the  same 
line  with  a  single  stroke,  the  move- 
ment of  the  vibrating  bell  acts  as  a 
contact  breaker  for  the  single  stroke, 
the  result  being  that  the  make  and 
break  of  the  vibrating  bell  produces 
the  same  in  the  single  stroke ;  thus 
the  two  bells  work  in  conformity, 
provided,  of  course,  the  bells  are 
similar  in  size. 

On  the  other  hand,  it  will  be 
found  that  if  two  vibrating  bells 
are  put  on  the  same  circuit  by  the 
ordinary  single  line  method,  they] will 
not  work  in  anything  approaching 
a  satisfactory  manner.  Instead  of  a 
clear,  decided  ring  from  either  bell, 
there  will  simply  be  a  weak  fluttering  by  both. 
This  is  owing  to  the  impossibility  of  getting  the 
make  and  break  operation  of  each  bell  to  occur 
at  the  same  time.  Therefore,  if  the  reader  wishes 
two  bells  to  ring  together  on  the  same  line,  con- 
structed in  the  ordinary  manner,  he  had  better 
put  a  vibrating  and  a  single  stroke  together. 
It  must  not,  however,  be  [assumed  that  it  is 


hattaj. 


impossible  to  work  two  ordinary  vibrating  bells 
on  the  same  line  at  the  same  time,  for  this  can 
be  done  by  a  different  arrangement  of  the  bell 
and  line  wire,  the  diagram  of  which  the  writer, 
by  the  kind  permission  of  the  Editor  of  the 
English  Mechanic,  gives  in  Fig.  12.  The  current 
proceeds  along  the  line  wire,  through  the  coils, 
in  the  manner  before  described,  to  the  line  wire 
at  h.  The  armature,  b, 
ifrom+fvU  is  then  attracted  to  the 

o\--neie  of loaH  cores,   upon   which    the 
spring,  e,  makes  contact 
with      the       regulating 
screw,  f,  when  the  course 
of  the  current  is  altered,  and 
passes  from  the  line  wire  at  a, 
along  the  armature  at  B,  the 
spring,  e,  screw,  f,  to  the  line 
wire  at  h  ;  in  fact,  short  cir- 
cuiting the  bell,  and  so  pre- 
venting the  resistance  of  the 
coils. 

The  next  class  of  bell  is 
the  continuous  ringing  bell. 
This  is  a  mechanical  arrange- 
ment, by  which,  when  the 
push  is  temporarily  pressed 
down,  and  the  circuit  com- 
pleted, another  wire  is  put  in 
connection  with  the  battery, 
and  a  continuous  current  sup- 
plied to  the  bell,  which  rings 
until  the  machinery  is  re- 
adjusted. 

The  reader  will  fully  under- 
stand the  arrangement  on 
reference  to  Fig.  13.  The 
current  proceeds  from  the 
terminal  marked  c,  through 
the  coils,  a  a,  to  the  arma- 
ture, b,  pillar,  c,  to  terminal 
for  the  line  wire,  marked  l.  In  doing  this, 
the  magnets  attract  the  armature,  b,  at  the 
end  of  which  is  a  small  catch,  e,  upon  which 
rests  a  pivoted  lever,  f.  On  the  armature,  b, 
moving  forward,  the  lever  falls  against  the 
adjustable  screw,  h,  into  the  position  shown  by 
the  dotted  lever,  g.  The  tension  is  regulated  by 
the  adjustable  spring,  i.     The  current  proceeds 


FIG.  ]J. 


448 


THE   ELECTRIC  BELL. 


F1C  18 


FIC.I2. 

DESCRIPTION     OF     FIGURES. 


FIG.   II. — SINGLE-STROKE   BELL;   A  A,  MAGNET   COILS;    B,  ARMATURE;   C,  STOP  PILLAR    CONTAINING  REGULATING  SCREW; 

D,  REGULATING  SCREW,  THE  ARROWS  SHOW  THE  COURSE  OF  THE  CURRENT.  FIG.  12. — ARRANGEMENT  FOR  WORKING 
TWO  VIBRATING   BELLS  AT  SAME  TIME  ;    A  A,  MAGNET   COILS  ;     B,    ARMATURE  ;   C,    PILLAR  ;   D,    REGULATING    SCREW  ; 

E,  SPRING  FOR  DIVERTING  CURRENT  ;  F,  REGULATING  SCREW  ;  G,  WIRE  FOR  SHORT  CIRCUITING  BELL  J  H,  CONNECTION 
WITH  LINE  WIRE  TO  3  BELL.  FIG.  13. — ONE  FORM  OF  THE  CONTINUOUS  RINGING  BELL  I  A  A,  MAGNET  COILS;  B, 
ARMATURE  ;  C,  STOP  PILLAR  ;  D,  REGULATING  SCREW  ;  E,  CATCH  ON  ARMATURE  ;  F,  LEVER  FOR  PUTTING  IN  ACTION 
CONTINUOUS  RINGING  ARRANGEMENT  ;  G,  POSITION  OF  LEVER  WHEN  ARMATURE  IS  ATTRACTED  FORWARD  ;  H, 
CONTACT  POST;  I,  ADJUSTABLE  TENSION  SPRING;  J,  WIRE  TO  TIME  POLE  FOR  CONTINUOUS  RINGING.  FIG.  14. — 
ANOTHER  FORM  OF  THE  CONTINUOUS  RINGING  BELL  ;  A  A,  RELAY  MAGNET  ;  B,  ARMATURE  ;  C,  CONTACT  PILLAR  OF 
BELL  MAGNET  ;  D,  REGULATING  SCREW  OF  SAME  ;  E,  CATCH  ON  RELAY  MAGNET  ;  F,  LEVER  FOR  SWITCHING 
CURRENT  ;  G,  POSITION  OF  LEVER  WHEN  FALLEN  ;  H,  CONTACT  PILLAR  OF  RELAY  ;  I,  ADJUSTABLE  SPRING  ;  J,  RETURN 
WIRE  ;  K,  CORD  OR  ROPE  PULL.  FIG.  15.  — METHOD  OF  ADJUSTING  LEVER  ;  E,  ARMATURE  ;  F,  LEVER  FOR  SWITCHING 
CURRENT  ;  G,  POSITION  INTO  WHICH  IT  FALLS  ;  H,  CONTACT  POST  ;  I,  SPRING  WITH  SCREW  FOR  REGULATING  TENSION  ; 
K,  PUSH  WITH  SPRING  FOR  REPLACING  F.  FIG.  16. — PLAN  OF  ARRANGEMENT  TO  WORK  LOCAL  BATTERY  J  A,  COIL  OF 
RELAY  MAGNET  ;  B,  ARMATURE  ;  C,  INSULATED  ADJUSTABLE  SCREW  ;  D,  ADJUSTABLE  SCREW  IN  CONNECTION  WITH 
LOCAL  BATTERY  ;  E,  ARMATURE  FRAME  IN  CONNECTION  WITH  BELL  ;  F,  LOCAL  BELL  ;  G,  LOCAL  BATTERY.  ON 
SWITCH  OR  PUSH  COMPLETING  CIRCUIT  THE  CURRENT  PROCEEDS  IN  DIRECTION  OF  ARROW  ALONG  LINE  WIRE  THROUGH 
RELAY  COIL,  BRINGING  ARMATURE  B  IN  CONTACT  WITH  D,  SO  COMPLETING  LOCAL  CIRCUIT  WHEN  BELL  RINGS. 
FIG.  17.— DIAGRAM  OF  RELAY  MAGNET  ;  A,  MAGNET  AND  COILS  ;  B,  ARMATURE  ;  C,  INSULATED  ADJUSTING  SCREW  J 
D,  ADJUSTING  SCREW  FOR  MAKING  CONTACT;  E,  INSULATED  PILLAR;  F,  IRON  FRAME.  FIG.  18. — JANSEN  BELL; 
A,  MAGNET  AND  COILS  ;  B,  ARMATURE  ;  C,  MAGNET  CORE  ;  D  D,  POLE  PIECES  ;  E,  PIVOT  OF  ARMATURE  ;  F,  DISC  OF 
NON-CONDUCTING  SUBSTANCE  ;  G,  INSULATOR  FOR  MAGNET  CORE  ;  H,  NUT  FOR  FIXING  MAGNET  ;  J,  POINT  WHERE 
END  OF  COIL  IS  AFFIXED  TO  ARMATURE  SPRING  ;  K,  POINT  OF  CONTACT  ARMATURE  WITH  SPRING  ;  L,  ARMATURE 
SPRING  ;   M,    HAMMER  ROD  ;    N    OTHER    END  OF   COIL  AFFIXED  TO   BELL. 


THE  ELECTRIC  BELL. 


449 


in  the  usual  way  to  g,  then  to  the  lever,  then  by 
post,  h,  line,  j,  to  the  z  or  —  pole  of  the  battery, 
which  course  forms  the  local  circuit  for  con- 
tinuous ringing. 

Another  form  of  continuous  ringing  bell  is 
given  in  Fig.  14.  In  this  case  the  current  starts 
from  the  +  pole  or  carbon  plate,  proceeds  by  the 
arrow,  passes  through  the  coils,  A  A,  of  the  first 
magnets,  and  back  again  to  the  line  terminal,  or 
L,  and  ultimately  to  the  —  pole  or  zinc  plate. 
In  doing  this,  the  coils,  a  a,  attract  the 
armature,  b,  then  immediately  the  catch,  e,  of  the 
armature,  b,  disengages  the  lever,  f.  The  light 
spring,  i,  exerts  itself  on  this  lever,  and  causes 
it  to  fall  into  the  position  G,  and  to  rest  on  the 
adjustable  screw  of  the  contact  post,  h. 

The  current  is  now  cut  off  from  its  former 
course,  and  a  a  cease  to  be  magnets.  The  current 
now  proceeds  from  the  +  pole  by  the  arrows, 
through  the  coils,  a  a,  of  the  lower  magnets, 
the  bell,  to  the  frame,  then  by  the  armature 
spring  to  the  contact  post  screw,  d,  thence 
through  c  to  h,  along  f  and  J,  to  the  -  pole  of 
the  battery,  z. 

When  it  is  wished  to  stop  the  ringing  of  the 
bell,  the  pull,  k,  brings  the  lever,  f,  up  into  its 
original  position,  resting  on  the  catch,  E. 
To  do  this,  it  will  be  seen,  on  reference  to 
Fig.  14,  that  the  end  of  the  armature,  b,  at  E,  is 
filed  off  at  an  angle,  and  the  end  of  the  lever,  f, 
is  made  to  correspond  ;  thus,  when  it  rises,  it 
presses  its  way  past  the  end  of  the  armature, 
and  becomes  locked. 

This  form  of  continuous  ringing  bell  is  on  the 
"relay"  principle,  so  called  from  the  upper 
magnet,  a  a,  which  is  really  an  automatic  switch. 
The  action  of  the  upper  magnet  is  a  single 
stroke,  that  of  the  lower  vibrating. 

Another  method  of  adjusting  the  lever,  e,  is 
seen  in  Fig.  15.  Here,  instead  of  the  pull 
shown  in  Fig.  4,  and  marked  k,  the  manner  of 
resetting  f,  which  is  represented  as  having  fallen 
into  its  position  at  G,  is  by  pressing  the  spring, 
k,  which  readjusts  the  lever,  f,  by  the  leg,  L,  in 
the  position  from  which  it  has  fallen  into  the  posi- 
tion at  f.  The  spring,  k,  on  removing  the  finger, 
returns  to  the  position  shown  in  the  diagram. 
The  spring,  I,  is  tightened  or  slackened  by  the 
milled  screw  to  which  it  is  fastened. 


Again,  the  relay  can  be  very  advantageously 
employed  to  work  a  local  battery,  where  a  current 
would,  of  itself,  not  have  power,  owing  to  dis- 
tance, to  work  the  bell  satisfactorily.  Fig.  16 
gives  a  complete  plan  of  the  combined  arrange- 
ment of  push,  line  wire,  relay  magnet,  local 
battery,  and  electric  bell.  A  is  the  usual  iron 
core  fitted  with  bobbin,  wound  with  insulated 
wire  in  the  same  way  as  either  of  the  bobbins  of 
the  ordinary  electric  bell.  Instead  of  two 
magnets,  one  is  used,  that  being  sufficient, 
as  there  is  not  so  much  heavy  work  required 
from  it  as  in  the  case  of  the  actual  bell. 

If  the  reader  prefers,  he  can  make  two  cores 
precisely  as  the  electric  bell  is  formed,  b  is  the 
armature,  c  and  d  are  insulated  points.  A  wire 
connects  one  pole  of  the  battery  with  the  contact 
point,  d  ;  another  wire  connects  the  frame,  or 
armature,  of  the  relay  with  the  electric  bell ; 
the  other  pole  of  the  battery  is  connected  with 
the  remaining  terminal  o  I  the  bell. 

The  action  is  this :  whea  contact  is  made  by 
the  push,  the  current  passes  from  the  battery 
through  the  push,  along  the  line  wire  (which 
may  be  of  great  length),  through  the  relay 
magnet,  to  the  earth.  The  core  of  the  relay 
magnet  becomes  magnetised,  draws  down  the 
armature,  b,  which  comes  in  contact  with  d,  and 
completes  the  local  circuit.  The  current  proceeds 
from  the  +  pole  by  d  c  b,  e  rings  bell  (f),  then 
returns  to  —  pole.  The  arrows  show  the  course. 
If  the  main  line  wire  is  very  long,  as  in  the 
railway  telegraph  system,  the  relay  is  wound 
with  a  large  amount  of  fine  wire. 

Fig.  7  shows  the  relay  magnet  on  a  larger 
and  more  detailed  scale. 

The  current  passing  through  to  the  relay  may 
be  very  weak,  but  the  armature  of  the  relay, 
being  very  delicately  constructed,  and  the  only 
work  required  being  to  form  contact  between 
the  armature  and  the  contact  point,  no  great 
strength  of  magnet  is  required.  The  moment 
contact  is  made,  however  delicately,  the  local 
batteries,  which  are  probably  powerful,  are  put 
into  action,  and  ring  the  electric  bell,  which 
may  be  correspondingly  large. 

The  next  class  of  bell  to  be  noticed  is  the 
"Jansenbell."  This  is  an  electric  bell  of  apeculiar 
form.   It  will  be  seen,  on  referring  to  Fig.  8,  that 
vol.  in.  (u.s.) — N  N 


450 


THE  ELECTRIC  BELL. 


there  is  no  wooden  base,  dome  bell,  or  gong,  but 
it  is  exactly  similar  in  shape  to  the  common 
house  bell.  Fig.  8  will  explain  the  construction. 
The  bell  is  generally  about  the  size  and  shape 
of  the  ordinary  house  bell.  When  making  this 
bell,  it  is  preferable  to  get  a  clearer  and  more 
musical  tone  than  that  class  usually  has. 

A  hole  is  bored  in  the  top  of  the  bell,  about 
£  or  \  inch  in  diameter ;  this  is  bushed  with 
some  insulating  medium — for  instance,  the  small 
silk  or  cotton  bobbin  cut  down  to  fit,  the  hole 
through  the  bobbin,  which  will  most  likely  be 
\  inch  in  diameter,  remaining  as  it  is  for  the 
screw  of  the  magnet  to  go  through  When 
inserted  in  the  hole,  it  appears  as  shown  at  a. 

Now  get  a  piece  of  wood,  about  f  inch  thick, 
and  of  a  diameter  a  little  less  than  the  inside 
upper  diameter  of  the  bell.  Bore  a  hole 
through  it  large  enough  to  admit  the  magnet 
screw,  which  is  fixed  in,  or  made  on  the  magnet, 
c.  This  will  act  as  an  insulator  in  keeping  the 
magnet  from  touching  the  bell,  as  well  as  hold- 
ing the  armature  spring,  l,  in  position,  the 
spring  being  attached  to  the  wooden  disc  at  J 
by  a  screw.  Both  the  disc  and  the  wooden 
bush  should  be  soaked  in  hot  melted  paraffin 
wax.  The  disc  can  be  made  to  fit  on  the  bobbin, 
as  shown  in  the  figure. 

Perhaps  it  would  be  as  well  to  mention,  for 
the  benefit  of  anyonj  who  has  never  used,  or 
possibly  seen,  paraffin  wax,  that  it  should  be  ap- 
plied very  warm,  so  that  when  any  such  wooden 
article  is  dipped  into  it,  the  wax  may  be  able 
the  more  readily  to  penetrate  it,  and  leave  no 
thick  coating  on  the  surface  when  dry.  If  the 
wax  should  be  merely  warmish,  and  so  soft  but 
thick,  it  makes  dirtier  and  clumsier  work. 

The  magnet  is,  say,  a  tV  core,  or,  in  fact,  the 
same  as  in  the  tables  of  measurement  given  in  a 
former  article  on  "  The  Electric  Bell."  It  is  filed 
down  f  inch  from  the  end,  so  as  to  pass  through 
the  disc,  f,  and  the  insulating  bobbin  at  o.  It 
is  then  tapped,  and  a  thread  put  on  it  with  a  nut 
to  fit,  as  shown  at  h,  by  which  it  is  fixed  in  its 
place.  The  shoulder  at  the  coil  end  of  the  thread 
presses  against  the  wooden  disc,  f,  and  keeps  the 
magnet  in  position. 

The  pole  pieces,  d  and  d,  can  be  made  of  well 
annealed  iron,  about  f  or  \  inch  broad,  r\  or  \ 


inch  thick,  and  must  be  long  enough  to  pro- 
ject over  the  side  of  the  bobbin.  They  can 
be  fixed  to  the  magnet  core  by  boring  a 
hole  through  each,  putting  a  thread  on  both 
ends  of  the  magnet  core,  boring  the  pole  pieces, 
and  fitting  them  with  a  corresponding  thread  in 
the  ordinary  way,  and  screwing  on  to  the  magnet 
core,  or  by  soldering,  if  preferred. 

The  coil,  a,  is  made  in  the  same  manner,  as 
the  reader  will  find  fully  described  in  several 
articles  preceding  the  present  one.  The  method 
of  winding  is  also  the  same. 

It  will,  however,  be  noticed  that  the  magnet, 
instead  of  consisting  of  two  coils,  has  only  one, 
the  pole  pieces  taking  the  place  of  the  two  legs 
in  the  ordinary  form  of  magnet. 

The  armature,  b,  is  made  of  the  same  class  of 
material  as  described  in  a  former  article,  about 
^  or  f  inch  flat  iron,  A  or  A  inch  thick.  It  can  be 
procured  from  dealers  in  iron  for  Id.  a  foot. 
Bend  it  in  the  form  of  the  letter  U.  A  hole  must 
be  bored  in  the  middle,  large  enough,  when 
pivoted,  as  shown  at  e  in  Fig.  18,  to  allow  free 
play  for  the  armature,  b,  to  move  between  its 
position,  as  pressing  against  k  when  at  rest,  and 
its  position  close  to  the  pole  piece,  which  briDgs 
the  hammer-head  against  the  bell. 

Through  the  side  of  the  magnet,  o,  a  small 
hole  is  drilled  to  agree  with  a  similar  hole 
drilled  through  the  armature,  to  insert  the  pin 
upon  which  the  armature  is  pivoted. 

The  hammer- rod,  m,  is  soldered  to  or  screwed 
into  the  armature  at  n,  the  whole  being  so  nicely 
balanced  that  the  armature  presses  against  the 
spring,  l,  at  the  contact  point,  k,  so  as  to  form 
a  good  connection,  but  be  easily  movable. 

The  spring,  l,  is  made  of  a  piece  of  tempered 
springy  brass,  say  about  f  inch  broad  at  the 
upper  part,  where  it  is  screwed  to  the  disc,  f,  at 
j.  It  is  bent  in  the  form  shown  in  the  figure, 
and  is  tipped  with  platinum  at  k,  which 
platinum  point  acts  upon  another  platinum 
point,  or,  better  still,  plate,  soldered  on  the 
armature.  Often  an  adjusting  screw,  platinum 
tipped,  is  placed  at  k,  so  as  to  regulate  the 
tension,  which  will  be  found  very  convenient. 

The  coils  are  connected  up  by  one  end  being 
attached  to  the  bell,  having  the  insulated  wire 
well  scraped  for  about  1  inch  from  the  end,  and 


A   MEDICINE    CUPBOARD. 


451 


then  being  passed  between  f  and  the  bell  crown, 
good  contact  being  the  important  point  to  be 
observed.  The  other  end  of  the  coil  is  con- 
nected up  by  being  passed  under  the  screw  of  the 
armature  spring  at  j. 

The  course  of  the  current  now  is  :  along  the 
line  to  the  hook  or  bracket,  along  the  bell,  down 
to  the  coil,  then  to  the  spring,  J,  along  l  to  k,  up 
armature,  b,  magnet  core,  c,  and  out  at  h.  The 
arrows  will  assist  in  tracing  the  course. 

This  bell  can  be  hung  from  a  bracket,  as 
shown  in  the  figure,  the  course  of  the  current 
being  along  the  bracket,  as  above. 

It  is  claimed  for  this  bell  that  it  has  a  more 
comely  appearance  and  better  sound  than  the 
ordinary  gong  shape ;  at  the  same  time,  owing 
to  there  being  only  one  coil,  less  wire  is 
required  with  as  good  ringing  results,  also  that 
it  has  certain  electrical  advantages.  Another 
name  for  it  is  the  "  Church  bell." 


A  MEDICINE   CUPBOARD. 

BEING  THE,  EIGHTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD  UTILITY. 

By  ED.   C.  ROE,  Jun.,  Silver  Medallist  of  the  City  and 
Guilds  of  London  Institute. 


W^tfVThY  first  bow  was  made  to  the  readers  of 
:  III  i  1  Amateur  TVork,  Illustrated,  through 
thMMn  the  medium  of  an  article  by  title  the 
same  as  that  which  heads  this  paper.  I  have 
reason  to  believe  that  it  was  favourably  received 
by  my  audience,  and  it  is  my  earnest  hope  that 
the  same  audience,  in  company  with  the  many 
new  arrivals,  will  view,  with  an  appreciative 
eye,  the  piece  of  furniture  which  the  engrav- 
ings herewith  represent. 

Somehow  or  other,  a  piece  of  furniture  such 
as  we  are  about  to  discuss  always  seems  a  wel- 
come object,  both  to  the  makers  and  users; 
certainly  it  is  a  most  useful  thing,  for,  although 
we  call  it  a  medicine  cupboard,  it  seldom  fails 
to  prove  the  abode  of  a  multitude  of  small 
objects.  "  Out  of  sight,  out  of  mind,"  says  a 
proverb.  Alas !  it  is  only  too  true ;  and  one 
objection  to  many  such  cupboards,   etc.,    in  a 


house,  is  that  they  afford  a  convenient  refuge 
for  rubbish. 

I  have  striven  to  introduce  some  little  novelties 
into  the  present  design;  but  if  it  should  not  be 
quite  pleasing  to  any  one  of  my  critics,  I  must 
plead  the  following  excuse,  that  to  introduce 
many  novelties,  either  in  arrangement  or  form, 
always  necessitates  more  work,  and  certainly 
greater  skill ;  and  through  this  series  of  papers 

1  have  done  my  utmost  to  keep  back  thoughts 
of  too  elaborate  design,  in  order  that  each  job 
should  be,  comparatively  speaking,  of  only  a 
fair  length,  and  not  one  that,  when  taken  up, 
would  be  likely  to  get  laid  aside  in  disappoint- 
ment, never  to  be  completed.  To  those  of  my 
readers  who  wish  for  a  more  elaborate  elevation, 
many  little  things  will  suggest  themselves, 
which  possibly  will  add  to  the  appearance  of 
the  cupboard,  and,  needless  to  remark,  also 
to  the  work. 

Now,  to  those  who  intend  to  follow  me  through 
this  job,  I  will  again  give  a  piece  of  advice,  oft 
repeated,  it  is  true,  but,  nevertheless,  continues  to 
be  important.  It  is  :  set  out  your  work  full  size. 
It  is  to  be  regretted  that  no  portion  of  our  work 
can  be  given  full  size,  but  the  most  important 
sections  are  shown  §  full  size ;  and  if  the  intend- 
ing maker  will  only  provide  himself  with  a  large 
piece  of  paper  or,  better  still,  a  board,  and  set 
out  vertical  and  horizontal  sections  (enlarged 
from  the  engravings  herewith),  full  size, 
half  the  battle  will  be  over,  and  the  worker, 
sooner  or  later,  will  bless  the  hour  when  he 
set  out  his  job  full  size.  I  know  what  many 
will  say,  "  I  am  not  well  up  in  drawing  "  ;  but, 
really,  it  only  requires  a  very  elementary  know- 
ledge of  drawing  in  order  to  set  out  a  simple 
job  sufficiently  clear  to  work  from.  Another 
thing,  bear  in  mind  a  good  old  proverb, 
"Nothing  venture,  nothing  have "  ;  and,  to  be 
sure,  it  holds  good  in  this  case. 

After  this  paternal  lecture,  let  me  proceed  to 
describe  the  work  in  hand. 

The  first  thing  is  to  make  the  framework,  if 
such  term  can  be  applied.  This  will  consist  of 
two  sides,  top,  bottom,  two  shelves,  and  two 
vertical  partitions.  The  dimensions,  out  to  out, 
of  the  sides  are  2  feet,  and  the  length  of  sides 

2  feet  3  inches.     The  top  will  be  notched  on  to 


452 


A   MEDICINE   CUPBOARD. 


the  top  of  the  sides,  as  shown  by  Fig.  9,  and 
will  project  over  the  sides  2  inches.  The  bottom 
will  have  to  be  dealt  with  carefully,  as  it  will 
be  advisable  not  to  cut  the  supporting  brackets 
away  from  the  sides,  neither  the  side  shelves, 
which  project  3|  inches  (see  front  elevation, 
Fig.  1).  It  is  rather  a  peculiar  operation  to 
describe,  and  also  to  E 

sketch      with      any    \  , 

effect,  but  I  hope 
to  render  my  mean- 
ing clear.  At  Fig. 
10  are  represented, 
roughly,  the  side 
and  the  shelf.  It 
will  be  observed  that 
a  piece  is  cut  out  of 
the  shelf,  and  a 
corresponding  piece 
from  the  side.  Do 
not  forget  that  the 
shelf  has  also  to 
be  housed  into  the 
side    in    the    usual 


31 


f 


«■&» 


fc^-Xa 


f\  jVjEDIGiN'E  GUPB0/\HD 
BrE.C  H" 


'  Xad' 
opiate 


0     C 


Fl 


receive  the  back ;  the  size  of  the  rebate  and 
section  of  stiles,  and  rails  of  back  panelling,  is 
given  at  Fig.  4.  It  will  be  noticed,  by  looking 
at  Fig.  5,  that  the  bottom  is  wider  than  the 
sides  to  the  extent  of  f  inch,  which  will  make 
the  total  width  7  inches,  against  6^  inches  of  the 
side.     The  moulding  on  the  edge  will  return  on 

the  ends. 

The  shelves  and 
partitions  have 
now  to  be  housed 
in  (see  Fig.  8),  and 
should  a  division 
be  thought  ad- 
visable inside  the 
cupboard,  the 
housings  for  that 
also.  If  a  division 
is  fixed  as  sug- 
gested, a  mullion 
in  the  middle 
of  the  panelling 
of  back  will  be 
necessary.        Two 


manner  ;  that  is  to  say,  that  the  shelf  will  pene- 
trate the  face  of  each  side  to  the  extent  of  J 
inch,  in  just  the  same  way  as  though  the 'shelf 
were  being  treated  similarly  to  the  top  ;  bear  in 
mind,  also,  that  the  housings  do  not  runjjtkrough 
but  stop  short,  as  indicated  in  Fig.  8.  There  is 
no  occasion  to  treat  the  top  so,  as  the  housing 
will  be  covered  by  the  cornice. 

"We  have,  before  knocking  the  frame  together 
finally,  to  rebate  the  shelf,  bottom  and  sides,  to 


FIC.7.  §£Zlsae 

mortises  must  be  provided,  to  fix  the  sunk  piece 
between  the  doors ;  this  piece  must  now  be 
prepared.  The  extreme  width  is  3  inches ;  taking 
2^-inch  rebates  out  each  side  will  leave  2£  inches 
to  be  dealt  with,  as  shown  (Fig.  7) ;  the  middle 
portion  may  be  sunk  and  moulded  with  a  router, 
as  suggested,  or  may  be  carved — in  fact,  it  lends 
itself  to  many  methods  of  treatment.  A  short 
tenon,  say  J  inch  long  each  end,  will^prove 
ample  fixing,  if  let  into  the  shelves. 


A   POCKET  MEDICAL    COIL. 


453 


A  section  of  stiles  and  rails  for  back  is  given 
at  Fig.  4.  It  is  not  proposed  that  the  back 
should  cover  the  recess  at  the  top ;  but  should 
one  be  thought  an  improvement,  it  can  easily 
be  added. 

The  cornice  may  now  be  taken  in  hand  ;  a  § 
full-size  section  is  shown  (Fig.  3) ;  a  piece  of 
stuff,  1 J  inches  by  2  inches,  and  roughly  4  feet 
3  inches  long,  will  make  sufficient.  To  those 
who  would  be  economical  in  the  use  of  stuff,  the 
dotted  line  will  show  how  it  can  be  worked  out 
of  a  piece  of  1  inch  stuff  ;  but  it  is  a  far  more 
difficult  job  to  do  it,  or,  at  any  rate,  when  there 
is  only  a  small  quantity  required,  and  most 
certainly  it  will  not  tend  to  economise  time. 
The  cornice  is  mitred  round  top,  and  fixed  by 
blocks  (see  Fig.  3).  If  several  blocks  be  glued 
into  top,  and  then  allowed  to  dry,  they  will 
afford  a  capital  fixing,  as  indicated.  The  bottom 
edge  of  cornice  is  J  inch  below,  under  face  of  top, 
and  it  is  against  this  that  the  largest  fret  will 
be  fixed. 

The  most  economical  way  will  be  to  cut  this 
fret  in  two  portions,  joining  in  the  middle. 
Space  precludes  my  giving  full-size  curves,  but 
they  can  be  approximately  ascertained  from  the 
scale  elevations. 

The  same  may  be  said  of  the  two  pairs  at  the 
side,  and  also  to  the  pair  under  the  shelf 
(Fig.  1).  If  Fig.  2  is  referred  to,  it  will  be  seen 
that  the  bracket  next  the  wall  does  not  touch, 
but  stands  away  from  it  about  \  inch.  There 
are  two  reasons  for  treating  these  brackets  so — 
one  is  to  give  a  little  more  character  to  the  work, 
and  the  other  to  afford  a  blind  to  the  plate  for 
suspending,  which  must  be  fixed  on  the  edge  of 
the  side  behind  the  bracket,  to  hang  the  cup- 
board up  by.  If  the  bracket  is  fitted  to  the 
top  and  side  neatly,  and  a  screw  put  through 
from  the  top  of  the  cupboard,  just  inside  the 
cornice,  we  shall  be  able  to  remove  the  bracket 
previous  to  hanging  up  the  cupboard,  and  after  so 
doing,  to  refix.  This  method  will  answer  very 
well,  provided  it  is  hard  wood,  polished,  that  we 
have  to  deal  with  ;  but  in  the  event  of  the  work 
being  painted,  a  different  means  must  be  adopted. 
The  plates  could  then  be  fixed  so  as  to  nail  from 
the  recess ;  a  couple  of  plates  should  be 
sufficient,  but  if  the  fixing  is  not  all  that  is 


desirable,  more  may  be  necessary ;  but  do  not 
use  more  than  can  be  helped — they  look  so  ugly. 

Very  little  remains  to  be  said  about  the  doors. 
Do  not  forget  that  the  stiles  nearest  the  middle, 
or,  as  they  are  termed,  the  lock  stiles,  to 
distinguish  them  from  the  opposite,  or  hanging 
stiles,  are  wider  than  the  hanging  stiles  by  the 
width  of  the  rebate,  which  is  \  inch  (Fig.  7), 
thus  making  two  stiles  1|  inches  wide,  and  two 
\\  inches  wide.  The  bottom  rail  will  be  2  inches, 
and  the  top  \\  inches.  For  the  section  of 
moulding  for  doors,  see  Fig.  6  ;  this  moulding  is 
very  effective,  and  comparatively  easy  to  work. 

For  hanging  the  doors,  we  shall  require  two 
pairs  1 J  inch  brass  pressed  butts.  The  remaining 
fastenings  must  be  chosen  as  individual  taste 
dictates. 

Concerning  the  drawers,  I  must  again  abstain 
from  dealing  with  them  at  length,  the  subject 
having  been  dealt  with  so  often.  Do  not  omit 
to  make  the  backs  of  the  drawers  narrower  by 
\  inch  than  the  sides ;  otherwise — that  is,  pro- 
viding a  very  nice  fit  is  made — the  air  inside 
will  cause  some  difficulty  in  pushing  the  drawers 
in.  Let  the  face  of  drawer  fronts  stand  back 
iV  inch  ;  this  will,  of  course,  be  arranged  when 
fixing  the  drawer  stops. 

And  so  the  end  of  my  eighth  paper  arrives, 
I  trust  with  everything  satisfactory  ;  and  for  the 
ninth  of  the  series,  another  cupboard  will  be  the 
subject,  but  the  use  will  be  much  different,  but 
not  any  the  less  useful. 


A  POCKET  MEDICAL  COIL. 

By  ALLEN  TRAY  NOR. 


II.— Insulator— Arrangement  for  "Make  and 
Break  " — Battery — Conclusion. 

N  every  coil  there  is  an  arrangement 
for  interrupting  the  current  which 
flows  through  it.  In  our  preliminary 
experiments  we  saw  the  effect  of  this  interrup- 
tion when  we  placed  a  file  in  the  circuit,  and 
caused  the  circuit  to  be  made  and  broken  (Fig.  1) 
by  drawing  a  wire  along  'the  file.  The  corre- 
sponding arrangement  in  a  coil  is  called  the 
"  make  and  break,"  and  consists  of  a  spring, 
either  of  steel  or  brass,  to  which  is  attached  a 


454 


A  POCKET  MEDICAL    COIL. 


-& 


PICS. 


piece  of  soft  iron,  which  is  attracted  by  the  core 
or  iron  bundle  in  the  body  of  the  coil  when  the 
current  is  flowing.  The  spring  is  usually 
mounted  on  a  pillar  of  brass.  A  second  pillar 
carries  a  screw  having  its  point  tipped  with 
platinum,  the  platinum  point  pressing  lightly 
against  the  spring.  It  will  be  evident  that  there 
is  no  room  for  pillars  in  the  coil  we  are  now 
considering,  and  we  must  mount  the  "  make  and 
break"  in  some  other  way. 

Part  of  the  arrange- 
ment is  shown  at  Fig.  8, 
namely,  the  insulator 
on  which  the  "make 
and  break  "  is  fixed.  It 
is  made  out  of  a  small 
piece  of  vulcanite,  ebo- 
nite, or  boxwood,  J  inch 
thick,  and  shaped  as 
shown.  If  made  of  box- 
wood, its  insulating 
qualities  will  be  im- 
proved by  being  steeped 
for  twenty  minutes  in 
melted  paraffin  wax. 
Five  holes,  abode, 
have  to  be  made  in  it 
for  email  screws,  two  of 
them,  a  J,  being  counter- 
sunk. The  insulator  has 
to  be  fixed  to  the  top  of 
the  boxwood  end,  which 
has  the  check  upon  it, 
by  means  o  small 
screws  which  pass 
through  a  b.  Before 
fixing  it,  pass  the  iron 
core,  first  of  all,  into  its  place ;  now  lay  the 
insulator  on  the  top  of  the  boxwood  end,  as  if 
to  cover  the  brass  collar  of  the  core.  The  edge 
of  the  insulator  and  the  edge  of  the  boxwood 
end  must  be  flush.  Pass  a  fine  bradawl,  or  other 
sharp-pointed  tool,  through  the  holes  a  b,  so  that 
a  mark  is  left  on  the  boxwood  end  beneath.  At 
these  marks  holes  have  to  be  bored  to  receive 
the  screws,  which  pass  through  a  b,  and  keep  the 
insulator  in  its  position. 

The  next  part  of    the   arrangement   is  the 
"  make  and  break."     It  has  been  already  stated 


d— S^ 


FIG.  13 


aC«r 


FlC.li 


jv).b 


FIG. 10. 


that  it  is  a  spring  of  steel  or  brass  carrying  a 
piece  of  soft  iron,  which  is  attracted  by  the  core 
of  the  coil  when  the  current  is  passing.  The 
spring  is  shown  at  Fig.  9.  It  is  1  inch  long  and 
J  inch  broad,  a  small  hole  being  bored  at  the 
end,  a.  Whether  made  of  steel  or  brass,  it 
must  have  plenty  of  spring  ;  the  thinnest  sheet- 
brass  is  most  preferable.  If,  after  being  cut  to 
shape,  it  is  desired  to  improve  the  springiness, 
this  may  be  done  by  filing  it  down  at  the  end  a. 
At  the  opposite  end,  a 
small  piece  of  soft  iron 
is  either  rivetted  or 
screwed.  The  rivets  or 
screws  are  better  to  be 
of  brass.  The  iron  is  of 
the  same  breadth  as  the 
spring,  and  f  inch  long. 
It  must  be  perfectly  soft, 
so  as  to  lose  its  magr 
netism  whenever  the 
current  is  broken;  and 
should  there  be  any 
doubts  as  to  its  softness, 
it  had  better  be  placed 
in  a  slow  fire  till  red- 
hot,  and  allowed  to  cool 
gradually.  This  must, 
of  course,  be  done  be- 
fore it  is  fixed  to  the 
spring.  The  position 
of  the  spring,  when 
finished,  is  in  the  slot 
of  the  insulator.  The 
piece  of  soft  iron  is  to 
be  exactly  opposite,  but 
not  touching,  the  iron 
core.  Through  the  hole,  a,  of  the  spring  a  small 
screw  passes  into  the  hole,  e,  of  the  insulator. 

We  now  require  }  inch  of  No.  20  platinum 
wire,  which  is  to  be  used  to  furnish  the  spring 
with  a  platinum  button,  and  the  screw  which 
presses  against  it  with  a  platinum  point.  With 
regard  to  the  former,  we  must  be  certain  as  to 
the  exact  spot  on  which  to  place  the  button.  A 
small  piece  of  firm  sheet-brass,  shaped  as  shown 
in  Fig.  10,  carries  the  set-screw,  s.  At  the  point 
of  the  screw  a  hole  is  formed  by  drilling,  and 
the  platinum  tip  driven  into  the  hole.     One- 


]o)a 


FtC.Jl 


A   POCKET  MEDICAL    COIL. 


455 


half  of  the  above  length  of  platinum  wire  -will 
be  sufficient.  The  piece  of  brass  is  placed 
across  the  insulator,  as  if  to  bridge  the  slot,  and 
is  fixed  by  small  screws,  which  pass  through  the 
holes  (a  b)  of  the  brass  into  the  holes  (c  d)  of  the 
insulator.  The  screw,  s,  is  then  screwed  home, 
so  that  its  platinum  point  touches  the  brass 
spring  already  in  position.  The  exact  point  of 
contact  between  screw  and  spring  is  marked, 
and  there  in  the  spring  a  small  hole  is  pierced, 
and  into  it  the  remaining  half  of  the  platinum 
wire  is  fixed  by  rivetting  flat. 

The  coil  may  now  be  placed  in  its  position  in 
the  channel,  a  (Fig.  2),  of  the  case.  It  should 
pass  into  it  easily  without  much  pressure,  the 
' '  make  and  break ' '  being  uppermost.  If  the  slid- 
ing tube  is  already  covering  the  core,  it  should 
be  taken  off,  and  the  coil  passed  gently  into  the 
channel  till  its  end  touches  the  bottom.  Care 
has  to  be  taken  not  to  break  the  ends  of  the 
wire  which  were  left  free  for  connection.  When 
the  coil  is  in  position,  the  outer  side  of  the 
insulator  should  rest  on  the  edge  of  the  opening 
made  in  the  side  of  the  case,  and  the  narrowest 
part  of  the  insulator  (where  the  spring  of  the 
"  make  and  break  "  is  fixed)  should  be  over  the 
division  of  the  case  which  separates  the  channel 
a  from  the  channel  b.  A  small  screw-nail  is  now 
to  be  driven  through  the  outside  of  the  case  into 
one  of  the  wooden  ends  of  the  coil.  In  making 
the  hole,  be  careful  that  the  tool  used  passes 
into  the  wooden  end,  and  not  into  the  wire.  "With 
the  small  screw  driven  well  home,  the  coil  will 
be  firm  in  its  place.  The  sliding  tube  may  now 
be  passed  through  the  hole  at  the  bottom  of  the 
channel,  and  over  the  core,  where  it  remains. 

The  battery  which  works  the  coil  now  claims 
attention.  As  it  is  to  occupy  the  channel  (o)  of 
the  case,  it  must  be  small  in  bulk,  besides  being 
effective  in  regard  to  strength  and  constancy. 
The  only  reliable  battery  we  can  have  which 
possesses  these  qualities  is  that  known  as  the 
chloride  of  silver  battery.  Two  cells  will  be 
necessary,  and  the  materials  required  in  the 
making  of  the,m  are  a  small  quantity  of  chloride 
of  silver,  some  silver-foil  (the  very  thinnest 
possible),  sheet-zinc,  sal-ammoniac,  and  india- 
rubber  tubing.  The  last-named  is  for  the  con- 
taining vessels,  in  which  the   elements  of    the 


cell  are  placed.  Two  pieces  are  required,  each 
2  inches  long,  and  of  such  a  diameter  that  they 
can  fit  into  the  channel,  c,  of  the  case.  The 
ends  should  be  cut  evenly,  and  made  perfectly 
square.  The  thickness  of  the  india-rubber  should 
not  exceed  £  inch,  as  we  need  all  the  space 
possible  inside  the  tube. 

One  of  the  colls  is  shown  at  Fig.  1 1 ,  where 
a  b  c  d  is  a  small  cylinder  of  sheet-zinc,  with  a 
lug  (I)  formed  on  it  when  cutting  out  of  the 
piece.  A  short  length  of  copper  wire  is  soldered 
to  the  lug,  to  make  the  outside  connection. 
After  being  amalgamated  and  set  on  edge  for  a 
short  time  to  drain,  the  cylinder  is  to  be  passed 
into  the  middle  of  the  tube,  where  it  is  held  by 
fitting  well.  Now  prepare  a  small  rod  of  hard 
wood,  about  \  inch  diameter  and  1 J  inch  long. 
This  rod  (r  r)  is  to  be  covered  with  silver-foil, 
the  foil  fitting  tightly  round  it.  About  2  inches 
of  silver  wire  is  to  be  attached  to  the  edge  of 
the  foil  to  serve  for  the  outer  connection.  This 
wire  must  be  silver  ;  if  copper  is  used,  galvanic 
action  will  possibly  be  set  up  between  it  and  the 
silver-foil.  Next  make  a  paste  of  chloride  of 
silver  and  water,  but  the  less  water  the  better, 
as  the  paste  should  be  thick.  Measure  off  as 
much  stout  blotting-paper  as  shall  go  round  the 
silver-foil  on  the  rod.  The  blotting-paper  is  to 
be  spread  with  the  paste  of  chloride  of  silver, 
and  then  rolled  round  the  foil  with  the  chloride 
next  the  foil.  A  strip  of  muslin  or  other  thin 
material  is  now  rolled  round  the  outside,  and 
neatly  fastened  with  a  few  turns  of  thread. 
These,  then,  are  the  two  elements  in  our  chloride 
of  silver  cells  :  zinc  for  the  positive,  and  chloride 
of  silver  for  the  negative  element ;  the  silver- 
foil  acting  as  the  conductor  by  which  the  current 
passes  out  of  the  cell.  Two  plugs  are  now  pre- 
pared, as  shown  at  p  p.  They  are  to  be  of  a 
diameter  to  fit  closely  in  the  tube,  and  may  be 
made  of  good  cork.  A  central  hole  is  to  be  made 
in  each ;  in  these  holes  the  top  and  bottom  of 
the  rod,  r  r,  are  held. 

In  putting  the  parts  of  the  cell  together,  first 
of  all  place  the  zinc  cylinder  in  the  tube,  having 
its  length  of  connecting  wire  sticking  well  out  of 
the  tube.  At  whichever  end  we  have  the  zinc 
wire  emerging,  we  must  have  the  silver  wire  at 
the  opposite  end,  as  shown  in  the  figure.  Having 


456 


A   POCKET  MEDICAL    COIL. 


inserted  the  zinc,  we  now  insert  the  bottom  plug, 
pressing  it  in  till  it  almost  touches  the  zinc,  r  r 
is  next  placed  inside  the  zinc  cylinder,  its  end 
passing  into  the  central  hole  of  the  plug.  "We 
now  require  some  good  sealing-wax,  with  which 
to  fill  up  the  tube  from  p  to  k.  This  must  be 
done  carefully,  or  the  cell  will  give  trouble  by 
leaking.  The  wax  has  to  come  up  to  the  rim  of 
the  tube,  and  there  made  quite  level  before  it  is 
allowed  to  set.  While  the  wax  is  setting,  we 
may  prepare  the  charging  solution  with  a  little 
sal-ammoniac  and  water.  The  solution  does  not 
require  to  be  saturated;  if  strong  enough  to 
taste  salt,  it  will  do.  "With  this  the  cell  is 
charged,  the  quantity  required  being  as  much 
as  will  fill  the  tube  from  P  to  p  ',  thus  covering 
the  zinc  cylinder.  The  second  plug,  p ',  is  now 
inserted,  so  that  the  top  of  e  passes  through 
its  central  hole.  The  use  of  the  plugs  will  now 
be  obvious  :  they  are  to  prevent  the  elements 
from  touching  each  other  in  the  cell,  and  so  com- 
pleting the  circuit  there.  Over  the  plug,  p',  and 
up  to  the  rim  of  the  tube,  wax  has  to  be  melted 
as  before.  This  done,  the  cell  is  complete,  and 
in  the  same  manner  the  other  cell  is  to  be  built. 

It  may  here  be  mentioned  that  the  chief  diffi- 
culty in  the  making  of  chloride  of  silver  cells  as 
described,  is  to  prevent  them  from  leaking. 
Unless  the  wax  used  is  good,  and  makes  a  good 
grip  with  the  sides  of  the  tubes,  the  liquid  is 
sure  to  leak.  But  we  need  not  be  confined  to 
sealing-wax  for  the  purpose  of  preventing  this ; 
any  kind  of  pitch  [or  cement  which  sets  hard 
will  answer  quite  as  well,  and  may,  indeed,  be  a 
great  deal  better  than  inferior  sealing-wax. 

With  regard  to  the  constancy  of  the  battery, 
that  depends  entirely  on  the  amount  of  work  it 
is  called  upon  to  ,'perform,  and  also  on  the 
quantity  of  chloride  of  silver  used  in  its  con- 
struction. The  writer  has  made  cells  which, 
with  intermittent  work,  would  last  from  six 
months  to  one  year;  put  to  a  constant  job, 
they  would  become  exhausted  in  six  hours. 
The  secret  of  constancy  is  to  use  plenty  of 
chloride  of  silver — as  much  as  there  is  room 
for.  Too  much  cannot  be  employed  if  the  battery 
is  to  be  kept  in  working  order  for  any  length 
of  time.  There  is  little  or  no  waste  in  the 
working,  as  the  action  of  the  cell  converts  the 


chloride  back  to  the  metallic  state,  and  this 
can  be  reconverted  by  the  usual  process  into 
chloride,  and  used  again  in  charging  the  cells. 

Before  placing  the  battery  in  its  position,  a 
square  piece  of  brass,  which  carries  a  movable 
arm  or  switch,  has  to  be  driven  into  the  cut  made 
in  the  case  between  the  channels,  b  and  c.  This 
is  shown  at  Fig.  12.  The  brass  is  of  such  a  size 
that  it  fits  the  cut.  A  hole  has  to  be  drilled  and 
tapped  for  a  small  screw,  a,  which  passes  through 
the  arm.  The  arm  is  a  small  strip  of  sheet- 
brass,  1  inch  long  and  J  inch  broad.  It  has  to 
move  freely  on  the  screw. 

We  now  take  two  pieces  of  brass  rod,  A  inch 
diameter  and  It's  inches  long,  and  with  a  small 
drill  make  a  hole  as  shown  at  a,  Fig.  13.  These 
have  to  be  driven  into  the  holes,  d  and  e,  of  the 
case  (Fig.  2) ;  the  ends  which  have  not  been 
drilled  being  at  that  side  of  the  case  on  which 
are  the  cuts  between  the  channels.  The  drilled 
ends  should  be  flush  with  the  opposite  side  of 
the  case. 

We  now  place  the  battery  in  its  position,  the 
first  part  of  the  operation  being  to  join  the  cells 
together  by  soldering  the  wire  from  the  zinc 
element  of  one  cell  to  the  wire  from  the  silver 
element  of  the  other.  When  this  is  done,  the 
cells  should  be  end-on,  and  close  together.  They 
are  now  passed  into  the  channel  in  the  case,  and 
in  doing  so  the  free  wire  of  the  lower  cell  is  to 
be  passed  through  the  small  hole  which  was 
made  near  the  bottom  of  the  channel.  From  the 
hole  where  the  wire  emerges,  make  a  groove  in 
the  side  of  the  case  deep  enough  to  contain  the 
wire,  in  a  straight  line  to  the  brass  pin  which 
has  been  driven  into  the  hole,  d.  The  wire  has 
to  be'pressed  into  the  groove,  and  its  end  soldered 
to  the  brass  pin.  From  this  same  pin  make 
another  score  in  the  side  of  the  case  up  to  the 
opening  where  the  insulator  rests.  Lay  one  of 
the  free  wires  from  the  coil  in  it,  and  solder  the 
end  of  the  wire  also  to  the  brass  pin  at  d.  The 
other  wire  from  the  coil  is  now  connected  by 
making  a  small  loop  at  its  end,  and  connecting 
it  to  one  of  the  small  screws  of  the  brass  piece 
which  bridges  the  insulator.  From  the  brass 
pin  at  e  make  another  groove  to  the  edge  of  the 
opening.  Solder  a  short  length  of  copper  wire 
to  the  pin,  lay  the  wire  in  the  groove,  and  connect 


COLOUR  PHOTOGRAPHY. 


457 


its  other  end  to  the  same  screw  to  which  one  of 
the  ends  of  the  coil  wire  is  already  connected. 
From  the  brass  which  carries  the  arm  or  switch 
make  another  groove  to  the  edge  of  the  opening. 
Solder  a  short  length  of  copper  wire  to  the  brass, 
and  connect  the  other  end  to  the  screw  which 
attaches  the  vibrating  spring  to  the  insulator. 
A  free  end  of  the  battery  wire  is  still  left  for 
connection.  This  end  is  to  be  soldered  to  a  small 
round-headed  brass  tact,  which  can  be  driven 
into  the  top  of  the  ease.  It  may  be  placed  any- 
where in  the  top  of  the  case  where  the  switch 
can  reach  it  and  make  good  metallic  contact 
with  it.  On  turning  the  switch  on  to  the  head 
of  the  tack  the  coil  should  work. 

We  11  "  make  the  rheophores,  or  handles,  by 
which  th.  shock  is  taken  off  the  coil,  and  which 
are  carried  in  the  middle  channel  when  not  in 
use.  Two  pieces  of  brass  tube  are  required, 
each  3  inches  long,  the  diameter  of  one  being 
\  inch,  and  the  diameter  of  the  other  less  than 
this  by  about  rV  inch.  By  this  arrangement 
the  smaller  tube  can  slide  into  the  larger  when 
they  are  being  placed  in  the  channel.  One  end 
of  each  tube  is  to  be  closed  by  soldering  over  it 
a  square  piece  of  sheet-brass,  which  has  after- 
wards to  be  turned  or  filed  down.  Through  the 
centre  of  each  closed  end  a  small  hole  has  to  be 
drilled.  Two  lengths  of  flexible  insulated  wire 
are  now  procured,  each  18  inches  long.  At  each 
end  of  the  wires  small  brass  pins  are  to  be 
soldered,  but  they  have  to  be  so  tapered  that 
they  shall  fit  into  the  holes  in  the  ends  of  the 
handles,  and  also  into  the  holes  of  the  small 
brass  rods  (Fig.  ]  3)  which  pass  through  the  case 
at  d  and  e.  It  will  now  be  seen  that  when  a 
shock  is  wanted,  the  end  of  each  wire  is  inserted 
in  the  handles,  the  other  ends  into  the  brass 
rods,  and  the  switch  turned  on  to  make  contact 
with  the  brass  button  on  the  top  of  the  case. 
When  the  coil  is  not  in  use,  care  has  to  be  taken 
that  the  switch  cannot  of  itself  complete  the 
circuit  by  falling  on  to  the  button. 

It  may  be  mentioned,  finally,  that  it  will  add 
very  much  to  the  appearance  of  the  case  if  the 
grooves  in  which  the  wires  are  placed  are  filled 
in  with  melted  paraffin  wax,  and  the  whole 
covered  with  any  suitable  material,  such  as 
leather  cloth.  - 


COLOUR   PHOTOGRAPHY. 

By  R.  A.  It.  BENNETT,  B.A.  (Oxon). 
Author  of  "  Hints  on  Decorating  the  Houseby  Photography." 


jg^^gHE  new  process  of  colour  photography, 
|«||1§  just  discovered  by  M.  Gabrielle  Lipp- 
fj^g^JI  man,  member  of  the  Institut  de  France> 
and  Professor  of  Physics  at  the  Sorbonne, 
and  explained  by  him  at  the  meeting  of  the 
Academy  of  Sciences  a  short  time  ago,  has 
created  great  interest,  both  in  the  minds  of  those 
addicted  to  scientific  pursuits,  and  those  who  are 
interested  in  the  results,  though  not,  perhaps,  in 
the  means  whereby  they  are  obtained.  Various 
descriptions  have  appeared  in  the  daily  and 
weekly  papers,  ever  since  the  Paris  corre- 
spondent of  the  Daily  News  announced  the  result 
of  his  interview  with  Professor  Lippman  himself. 
The  accounts  are,  however,  for  the  most  part, 
more  or  less  vague,  owing  to  the  tendency  of 
the  unscientific  mind  to  grasp  at  advances  in 
scientific  details  with  too  great  eagerness,  and 
thereby  to  make  startling  discoveries  in  the 
wrong  direction,  and  to  state  as  novel  what  has 
been  known  years  before. 

What,  then,  is  the  discovery  made  by  M. 
Lippman ;  and  how  much  nearer  to  the  coveted 
goal  has  he  brought  us  ? 

Before  answering  this,  it  is  necessary,  first,  to 
make  up  our  minds  as  to  where  we  were  before 
the  new  idea  took  shape  suddenly  in  M.  Lipp- 
man's  brain,  and  was  followed  by  investigations 
resulting  in  a  fair  measure  of  success.  It  is 
incorrect  to  talk  of  the  new  process  as  if  nothing 
like  it  had  been  known  before.  It  certainly 
differs  radically  from  previous  attempts,  inas- 
much as  it  is  directed  to  the  physical  qualities  of 
the  action  of  light,  and  not  to  the  chemical 
qualities.  Nothing  new,  however,  has  been 
found  out :  what  M.  Lippman  has  discovered  is 
a  method  of  making  use  of  previously  well- 
known  facts  in  an  entirely  different  way. 

Considering  that  we  have  heard  a  good  deal 
lately  about  the  scientific  world  being  "  startled  " 
by  the  new  process,  as  if  it  were  something 
beyond  our  wildest  dreams,  it  is  rather  sur- 
prising to  find  that  as  far  back  as  the  year 
1810  two  Germans — Dr.  Seebeck,  of  Jena,  and 
another,    Patter   by  name — were  successful    in 


458 


COLOUR  PHOTOGRAPHY. 


experiments  conducted  to  this  end,  and  obtained 
traces  of  colour  from  the  spectrum  by  receiving 
it  on  a  sensitive  surface  of  silver  chloride. 

Fox-Talbot  and  Daguerre  noticed  that  they 
sometimes  obtained  traces  of  colour  in  their 
processes,  and  Herschel  went  a  step  further ; 
he  found  that  "the  spectrum  impressed  upon  a 
paper  spread  with  the  chloride  of  silver  is  often 
beautifully  tinted,  giving,  when  the  sunshine 
has  been  favourable,  a  range  of  colours  very 
nearly  corresponding  with  the  natural  hues  of 
the  prismatic  spectrum."     This  was  in  1840. 

In  "Eesearches  on  Light,"  which  was  pub- 
lished in  1844,  we  find  that  Eobert  Hunt  was 
also  a  pioneer  in  this  direction,  and  was  to  a 
certain  extent  rewarded  with  success.  He  used 
paper  which  was  prepared  by  washing  it  with 
chloride  of  barium  and  nitrate  of  silver,  and 
allowing  it  to  darken  while  wet  until  it  became 
of  a  chocolate  colour,  when  it  was  placed  under 
a  frame  containing  a  red,  a  yellow,  a  green,  and 
a  blue  glass.  It  then  behaved  itself  in  the 
following  way  :  —  "  After  a  week's  exposure 
to  diffused  light  it  became  red  under  the  red 
glass,  a  dirty  yellow  under  the  yellow  glass,  a 
dark  green  under  the  green,  and  a  light  olive 
under  the  blue." 

The  name  of  Becquerel  is  one  which  is  noted 
in  connection  with  experiments  in  this  direction. 
In  1848,  Mr.  Edward  Becquerel  succeeded  in 
producing  coloured  pictures,  which  went  by  the 
name  of  chromophotos,  or  heliochromes.  They  were 
obtained  by  depositing  chloride  of  silver  in  a 
state  of  great  purity  on  a  silver  plate,  by  means 
of  electrolysis.  One  or  two  of  the  pictures  are 
said  to  have  been  preserved  for  a  time  even  in 
bright  sunlight,  but  the  process,  as  a  whole,  fell 
through,  owing  to  the  impossibility  of  a  satis- 
factory method  of  fixing  the  colours.  Becquerel'e 
method  was  afterwards  carried  out,  with  modifi- 
cations, by  Niepce  the  younger.  Some  of  the 
pictures  thus  produced  were  exhibited  at  the 
Exhibition  held  in  London  in  1862,  and  they  did 
really  represent  the  natural  colours  of  the 
objects  they  portrayed,  but  they  faded  in  a  few 
hours  in  daylight,  and  nothing  could  be  found 
to  fix  them. 

A  short  time  ago,  Messrs.  Bevan,  Cross,  and 
Green  made  a  discovery  which  has  been  con- 


sidered likely  to  lead  to  a  revolution  in  the 
former  methods  of  producing  colour  photo- 
graphs. This  process  is  dependent  on  changes 
occurring  in  various  organic  substances.  It  is 
still  under  discussion,  and  plates  prepared  by  the 
process  have  not  yet  been  prepared  sufficiently 
sensitive  for  actual  work  in  the  camera ;  it  is, 
however,  possible,  that  they  may  be  at  no  very 
distant  period. 

It  is  amusing  to  note  in  the  progress  o  the 
search  after  this  ignus  fatuus — which  is  always 
just  before  the  experimenter,  and  never  yet 
quite  in  his  grasp — what  a  number  of  inventors 
have  rashly  taken  out  patents  for  processes  which 
entirely  fell  to  the  ground  when  practically  tested, 
after  their  money  had  been  expended  in  pro- 
tecting themselves  from  imitators,  who  would 
never  have  had  a  chance  of  following  on  their 
track !  Some,  alas !  have  not  been  characterised 
by  that  freedom  from  deception  which  ought  to 
be  the  mark  of  the  genuine  searcher  after 
truth.  It  has  been  possible  for  some  time  to 
produce  tinted  photographs  on  specially  pre- 
pared paper  exposed  under  negatives  which  had 
been  coloured  ly  hand,  and  this  offered  a  lucrative 
field  for  the  operations  of  impostors.  But  some 
have  gone  considerably  further  than  that,  one 
of  the  most  astonishing  feats,  for  coolness  of 
deception,  being  that  of  an  individual  who 
assumed  a  clerical  title  "though  he  had  it 
not,"  and  whose  performance  must  be  in 
the  memory  of  many  of  our  older  readers. 
This  gentleman  professed  to  have  written  a 
book  containing  full  and  elaborate  instructions 
how  photographs  were  to  be  taken  in  all  the 
colours  of  nature,  and  by  a  process  easily 
carried  out.  However,  before  the  book  was 
printed,  he  was  compelled,  by  the  exigencies  of 
his  circumstances,  to  obtain  a  considerable 
number  of  subscriptions  to  defray  cost  of  pub- 
lication. The  day  came  on  which  it  was  to  be 
published,  and  the  book  sold  in  immense 
quantities,  the  "  rev."  gentleman,  of  course, 
pocketing  the  proceeds,  in  addition  to  the  sub- 
scriptions. On  looking  at  the  book,  it  was 
found  to  be  so  involved  and  abstruse,  that 
no  one  could  comprehend  what  the  process 
was,  or  how  it  was  to  be  accomplished,  as  his 
facts  differed  with  scientific  detail. 


COLOUR  PHOTOGRAPHY. 


459 


M.  Lippman's  discovery  differs  from  all  pre- 
ceding efforts  in  the  same  direction,  inasmuch 
as  no  attempt  is  made  to  find  a  new  sensitive 
substance  on  which  to  receive  the  image,  an 
ordinary  dry  plate  being  used,  without  any 
preparation  as  far  as  the  film  is  concerned. 
The  scientific  facts  on  which  the  process  is 
founded  is  the  phenomenon  known  as  "inter- 
ference." It  is  analogous  to  the  formation  of 
"beats"  by  two  simple  tones  in  acoustics, 
which  are  in  some  cases  found  to  alternately 
weaken  and  strengthen  each  other,  producing  a 
loud  sound  variating  with  comparative  silence. 
In  the  case  of  light,  the  waves  meeting  each 
other  in  opposite  directions,  or  under  a  very  small 
angle,  overlap  each  other,  and  just  as  in  the 
case  of  the  sound,  the  louder  note  varying  with 
the  lower,  was  produced  ;  so  in  the  case  of  light, 
a  succession  of  dark  and  light  intervals  is 
produced.  Each  wave  is  continuous  taken  by 
itself,  but  when  combined  together  they  give 
the  effect  of  a  broken  line,  or  "  chain."  It  is  by 
the  interference  of  waves  of  light  reflected  from 
the  outer  and  inner  surfaces  of  the  thin  film  of 
which  it  is  composed,  that  the  gorgeous  colours 
of  the  soap-bubble  are  caused,  or  those  which 
make  their  appearance  on  the  surface  of  water  on 
which  a  drop  or  two  of  oil  of  turpentine  has 
been  allowed  to  fall. 

AT.  Lippman  then  proposed  to  obtain  on  a 
photographic  plate  the  image  of  the  spectrum 
in  its  proper  colours,  and  that  this  image  should 
be  capable  of  being  fixed,  so  as  to  bear  exposure 
to  full  sunlight  without  alteration.  He  claims 
to  have  "  succeeded  in  solving  the  problem  by 
the  aid  of  the  sensitive  salts,  the  developers, 
and  the  fixing  agents,  now  used  in  photography, 
by  simply  modifying  the  physical  conditions  of 
the  experiment." 

The  conditions  which  are  essential  for  the 
success  of  this  method  of  obtaining  colour 
photographs  are  two.  One  is  the  continuity  of 
the  sensitive  film,  and  the  other  is  the  presence 
of  a  reflecting  surface  in  contact  with,  and 
behind  this  film.  By  "  continuity,"  he  explains 
that  he  means  "the  absence  of  'grain,'"  and 
says  "  it  is  necessary  that  the  iodide  or  bromide 
of  silver,  etc.,  should  be  distributed  on  the 
interior  of  a  sheet  of  albumen,  gelatine,  or  some 


otner  transparent  and  inert  substance  in  a 
uniform  manner,  and  without  forming  '  grain' 
which  can  be  seen  under  a  microscope.  If  there 
is  any  '  grain,'  it  should  be  of  such  a  size  as  to 
be  unnoticeable  in  comparison  with  the  wave 
length  of  light.  The  employment  of  the  coarse 
emulsions  of  every-day  use  is  therefore  ex- 
cluded." 

The  rationale  of  this  process  evolved  by  M. 
Lippman  is  as  follows  : — Supposing  that  instead 
of  a  continuous  wave  of  light  across  a  sensitive 
plate,  a  broken  line  or  "chain"  produced  by 
interference  is  sent  across,  the  silver  in  the  film 
on  the  plate  will  be  precipitated  in  layers 
approaching  to  the  thickness  of  the  film  of  a 
soap-bubble,  instead  of  being  thrown  down  in 
one  mass  throughout  the  film.  The  colours  of 
thin  plates  will,  therefore,  become  visible,  and 
instead  of  a  uniform  colour  throughout  the 
negative  we  shall  get  a  variety  of  tints, 
according  to  the  different  thickness  of  precipi- 
tated silver  in  the  various  parts  of  the  film.  By 
simply  placing  a  looking-glass  behind  the  film, 
then,  the  red  light,  for  example,  would  cause 
the  silver  to  be  deposited  on  development,  in 
layers  of  half  the  thickness  of  a  red  wave 
length.  On  the  other  hand,  blue  light  would 
cause  rather  thicker  layers,  which,  coinciding 
with  the  length  of  a  wave  of  light,  will  only 
permit  that  light  to  pass  by  which  they  were 
originally  caused. 

The  method  by  which  the  mirror  at  the  back 
of  the  plate  is  obtained  is  by  the  use  of  mercury, 
which  is  poured  into  a  trough  the  front  of  which 
is  the  sensitive  plate,  the  film,  of  course,  being 
outwards,  or,  in  M.  Lippman's  own  words, 
"  The  plate,  in  a  dry  state,  is  placed  in  a  frame, 
into  which  one  pours  mercury ;  this  mercury 
forms  a  reflecting  surface  in  contact  with  the 
sensitive  film.  The  exposure,  the  development, 
and  the  fixing  are  performed  as  if  one  wished 
to  obtain  a  black  negative  of  the  spectrum,  but 
the  result  is  different ;  when  the  plate  is  finished 
and  dried,  the  colours  appear."  Now  comes 
one  of  the  most  important  parts  of  the  discovery, 
viz.,  that  "the  cliche  obtained  is  negative  when 
looked  through  ;  that  is  to  say,  each  colour  is 
represented  by  its  complementary."  This  is 
valuable,  as  it  naturally  follows  that  if  the  right 


460 


COLOUR  PHOTOGRAPHY. 


method  of  preparing  the  printing  paper  of  the 
future  can  be  hit  on,  these  negative  colours  will 
print  the  original  tints  upon  it.  It  is  possible 
to  obtain  a  positive  of  the  colours,  and  to  make 
these  show  "with  great  brilliancy."  This  is  to 
be  done  by  developing  the  image,  and  sometimes 
intensifying  it,  "  so  that  the  photograph  shall 
be  of  a  light  colour ;  which  is  obtained,  as  is 
well  known,  by  the  use  of  acid  solutions.  The 
plate  is  fixed  with  hyposulphite  of  soda,  and  is 
then  carefully  washed."  The  colours  are  then 
said  to  be  unaffected  by  the  most  intense 
electric  light. 

All  this  is  very  satisfactory  as  far  as  it  goes, 
but  we  are  a  long  way  from  the  desired  end  as  yet, 
though  undoubtedly  an  immense  stride  has  been 
made  in  the  right  direction.  The  only  results 
that  have  been  obtained  at  present  have  been 
the  reproduction  of  the  colours  of  the  spectrum, 
and  of  a  painted  window.  These  being  pure 
colours,  it  remains  to  be  seen  whether  it  becomes 
after  a  time  applicable  to  mixed  colours,  as 
found,  for  example,  in  the  varying  tints  of  a 
landscape.  One  difficulty  has  to  be  overcome, 
which  is  owing  to  the  different  actinic  powers  of 
the  colours ;  red,  for  example,  requires  the  most 
exposure,  while  blue  requires  the  least ;  of 
course,  therefore,  one  would  be  over-exposed 
before  the  other  was  exposed  sufficiently.  Our 
knowledge  with  respect  to  isochromatic  plates 
will  probably  be  of  use  here,  for  by  the  use  of 
suitable  substances  which  have  an  orthochro- 
matic  effect,  we  may  be  able  to  render  the 
exposure  to  blue  more,  and  that  to  red  less,  and 
thus  to  restore  actinic  equilibrium. 

The  sensitive  film  which  M.  Lippman  uses 
is  the  collodio-albumen  process  according  to 
Tuapenot's  system  j  he  developes  with  carbonate 
of  ammonia  with  a  little  pyrogallic  acid,  and  for 
a  fixing  bath  he  uses  a  fifteen  per  cent,  solution 
of  hypo.  These  details  were  given  by  M.  Ch. 
G-ravier  in  the  "  Bulletin  du  Photo-Club  de 
Paris."  This  gentleman  is  of  opinion  that  if 
the  mercury  can  be  replaced  by  a  silver  plate,  or 
by  a  highly  polished  metal  plate,  "  one  might 
be  able  to  colour  a  transparent  and  sensitive 
film,  and  one  which  could  be  stripped  after  the 
impression  of  light." 

The  whole  process,  therefore,  simply  rests  on 


the  fact  that  when  the  rays  of  light  passing 
through  the  film  arrive  at  the  reflecting  surface, 
they  are  sent  back  again,  causing  interference 
with  other  rays  that  are  incident  to  the  plate, 
and  are  not  merely  absorbed  by  the  black  back- 
ground, which  is  usually  put  behind  the  plate. 

A  word,  in  conclusion,  to  those  who  are 
smitten  by  the  new  process,  and  wish  to  experi- 
ment with  it.  One  can  hardly  expect  to  be 
successful  at  once  in  photographing  the  colours 
of  flowers,  etc.,  which  the  originator  of  the 
system  has  not  yet  done.  Many  are,  however, 
experimenting  in  that  direction,  hoping  to 
obtain  the  glory  of  being  the  first  to  succeed ; 
and  it  is  by  no  means  unlikely  that  some 
plodding  experimenter  may  accidentally  hit  on 
the  very  thing  required. 

A  simple  method  of  making  the  trough  to 
hold  the  mercury  has  been  given  by  a  corre- 
spondent in  the  columns  of  a  contemporary,  a 
few  weeks  ago.  Take  a  dry  plate  of  the 
required  brand,  and  an  old  negative  glass  the 
same  size ;  cut  a  piece  of  cardboard  the  size  of 
the  plates,  and  cut  out  the  middle,  so  as  to  make 
a  frame  the  sides  of  which  are  about  \  inch 
wide ;  in  the  side  which  is  to  be  the  top,  cut  a  piece 
about  \  inch  out.  This  frame  of  cardboard  is 
now  to  be  covered  with  some  cement  which  can 
afterwards  be  dissolved  off  again,  and  laid  be- 
tween the  two  glasses  in  the  dark  room.  When 
all  three  are  firmly  fastened  together,  the  trough 
thus  formed  is  filled  with  mercury,  by  simply 
pouring  it  in  at  the  opening  left  at  the  top. 
The  plate  is  now  to  be  placed  in  the  dark  slide, 
taking  care  not  to  incline  it  to  either  side,  and 
exposed  in  the  ordinary  way.  The  greatest 
care,  of  course,  will  have  to  be  taken  to  keep 
the  dark  slide  upright,  or  a  shower  of  mercury 
inside  it  will  be  the  result.  The  hole  might  be 
filled  up  with  another  piece  of  card,  if  the  slide 
is  likely  to  get  roughly  handled.  "When  exposed, 
the  plate  is  developed  as  in  the  ordinary  process, 
and  if  you  are  successful,  the  colours  will  appear 
when  dry.  The  pyrogallic  acid  developer  has 
been  generally  used  at  present,  but  it  seems 
to  me  that  hydroquinone  or  eikonogen,  from 
their  power  of  giving  an  excessively  fine 
deposit,  would  be  still  more  likely  to  produce 
the  desired  result. 


DISSOLVING   SPECTRES. 


461 


DISSOLVING    SPECTRES. 

By  PROFESSOR  L.  MARISS1AUX. 


Ipfg^ISSOLVING  spectres  have  been,  in  the 
r  N§  ;  scientific  market  for  about  a  century, 
JOrUfet*,^  and  are  spoken  of  in  the  memoirs  of 
Stephen  Gaspard  Eobertson,  an  Englishman  (at 
least,  by  the  look  of  his  name),  living,  I  believe, 
in  Liege,  who  was  the  first  initiator  of  dissolving 
views.     This   kind   of  illusion  was  completely 


some  old  English  legends,  and  also,  I  think, 
some  chapters  from  Walter  Scott's  works.  The 
whole  thing  was  presented  to  the  audience  in  a 
very  striking  manner.  Professor  Pepper  first 
began  by  relating  the  chief  particulars  of  some 
romance  in  which  a  young  laird  was,  of  course, 
in  love  with  a  fair  young  heiress,  whom  he  lost 
in  some  way  or  other,  and  who  appeared  to  him 
in  some  dreadful  circumstances  illustrated  by 
Professor  Pepper's  tableau. 


transformed  by  a  certain  Robin,  who,  some 
time  ago,  thought  of  obtaining  the  presentment 
of  a  living  being  by  means  of  a  transparent 
glass,  invisible  to  the  audience.  .Robin,  in  his 
time,  was  very  much  sought  for  on  the  Continent, 
on  account  of  the  strangeness  attending  his 
conjuring  performances,  which  astonished  the 
public,  who  were  unable  to  discover  his  different 
tricks.  The  transparent  glass  was  used  (some  of 
my  London  readers  can  remember  it)  by  Prof. 
Pepper,  at  the  Polytechnic,  about  fifteen  years 
ago.    He  used  to  choose  as  a  text  for  his  dramas 


Dissolving  spectres  are  beginning  to  be  known 
everywhere,  but  my  fellow  readers  will  be  glad  to 
know  how  it's  done ;  and  as  it  is  possible  they 
have  seen  nothing  of  the  kind,  I  think  the 
description  will  be  welcome. 

The  illusion  of  dissolving  spectres  consists  in 
the  successive  and  uninterrupted  apparition  of 
divers  objects  which  are  transformed  under  the 
eyes  of  the  audience.  The  illusion  is  produced 
by  placing  on  a  stage  an  object  which  is  seen 
directly  by  the  spectators,  and  another  outside 
that  is  to  be  seen  by  reflection,  this  being  obtained 


462 


DISSOLVING   SPECTRES. 


by  gradually  lighting  one  and  putting  the  other 
in  darkness.  "When  the  disposition  of  the  stage 
does  not  allow  the  object  to  be  seen  by  reflec- 
tion under  it,  it  may  be  placed  in  the  side  scenes ; 
but  in  this  case  the  glass  must  be  vertical,  and 
in  a  slanting  direction,  comparatively,  with  that 
of  the  front  curtain.  That  is  the  principle  of 
dissolving  spectres;  and,  to  be  clearer  still,  I  am 
going  to  give  my  readers  a  description  of  the 
trick  such  as  it  is  generally  set  up. 

Fig.  1  gives  a  general  idea  of  how  the  stage 
front  is  to  be  arranged,  and  how  it  looks  when 
the  curtain  is  pulled  up.  At  the  bottom  of  a 
somewhat  deep  recess,  whose  sides  are  slightly 


^  fig.*.  ^ 

L  L 

slanting  (see  also  Fig.  2),  and  completely  covered 
with  some  dull  black  stuff,  there  appears, 
strongly  lighted,  in  the  middle  of  a  cubic  cavity 
about  two  feet  in  all  directions,  a  woman's  head, 
made  of  plaster  or  pasteboard,  which  the 
conjuror  takes  out  and  hands  over  to  the  lookers- 
on,  to  fully  ascrtain  the  reality  and  materiality 
of  its  existence.  The  examination  of  this  head 
being  done,  it  is  put  back  in  its  place,  and  little 
by  little  it  brightens  up,  and  gets  animated  ;  the 
eyes  take  life,  the  face  colours,  the  mouth 
smiles,  and  in  half  a  minute  the  plaster  head 
has,  so  to  speak,  disappeared,  to  be  replaced  by 
a  lovely  living  woman's  head  that  moves  eyelids 
and  lips,  and  even  speaks  to  the  audience.  Then, 
by  a  reversed  operation,  this  living  head  gets 
discoloured,  and  becomes  again  a  plaster  head, 
which  transforms  itself  into  a  death's  head,  out 
of  which  seems  to  issue  a  bouquet  of  flowers. 
The  lugubrious  death's  head  disappears  in  its 


turn,  and  is  replaced  by  a  vase  which  supports 
the  bouquet.  The  conjuror  takes  it,  and  shows 
it  to  the  spectators,  puts  it  back,  and  makes  it 
disappear,  and  a  glass  globe  full  of  red  fishes 
appears  to  the  wondering  eyes  of  the  audience. 

Tou  have  already  guessed  that,  in  all  these 
successive  transformations,  the  objects  are  seen 
alternately  directly  and  by  reflection.  The 
diagram  seen  in  Fig.  2  shows  the  very  simple 
arrangement  that  gives  such  astonishing  results. 
In  p  the  real  object  is  placed  on  a  square  tablet, 
E  g  a  m.  In  a  b  is  a  glass  (not  quicksilvered,  of 
course),  standing  vertically,  and  forming  a  45° 
angle  with  A  m.  The  object,  p,  being  directly 
and  strongly  lighted  up,  can  only  be  seen  ;  but 
if  a  second  object  be  placed  in  p,  and  if  it  be 
lighted  by  degrees,  its  image  being  reflected  in 
the  glass,  a  b,  it  appears  to  be  placed  in  p  for 
the  lookers-on  ;  that  is  to  say,  that  the  cardboard 
head  is  replaced  by  the  living  one.  The  glass,. 
a  b,  would  appear  to  prevent  the  conjuror,  stand- 
ing in  front  of  the  stage,  taking  the  head 
to  show  it  to  the  audience ;  but,  in  fact,  it  does 
not,  for  the  glass  does  not  necessarily  go  down 
to  the  stage  floor,  as  it  might  be  believed  from 
the  diagram,  but  its  lower  edge  comes  about  on 
the  same  level  with  the  tablet  on  which  the 
head,  p,  is  placed.  In  the  case  of  the  trick 
being  performed  on  a  larger  scale,  it  would  be 
easy  to  draw  back  the  glass,  and  put  it  in  a  c 
when  the  conjuror  is  going  to  take  one  of  the 
objects  placed  in  p  ;  the  darkness  of  the 
trapezium,  a  d  m  n,  would  prevent  its  removal 
from  being  seen.  In  the  case  of  an  immovable 
glass,  the  head  and  nosegay,  or  whatever  it  is, 
are  passed  under  its  lower  edge  when  taken  out 
and  put  in  again. 

In  short,  the  plaster  head  is  seen  directly 
across  the  glass,  a  b,  and  the  real  head,  which 
takes  its  place,  is  seen  by  reflection ;  the  plaster 
head  comes  back,  and  a  death's  head  is  put  in 
place  of  the  living  one,  and  being  lighted  up,  in 
its  turn,  is  seen  at  the  point  where  the  plaster 
head  was  ;  the  latter,  not  being  lighted,  is  no 
longer  visible.  Nothing  is  easier  than  to  remove 
the  plaster  head  from  the  inside  of  the  stage,  and 
put  instead  a  bouquet,  without  the  spectators 
perceiving  it  in  any  way,  because  the  said 
bouquet  is  only  visible  when  directly  lighted. 


WRINKLES  FOR    WOODWORKERS. 


463 


Such  is  the  principle  of  dissolving  spectres. 
All  these  experiments  are  easily  realised  on  a 
small  scale.  All  that  is  wanted  is  a  simple  card- 
board box  about  ten  inches  in  length  and 
height,  and  about  two  feet  deep,  in  which  an 
ordinary  piece  of  glass  is  placed  at  an  angle  of 
45°,  and  whose  further  edge  is  about  seven 
inches  from  the  back.  The  inside  is  covered 
with  some  black  paper  (not  shiny),  and  openings 
are  cut  out  in  the  sides  for  lighting  the  objects, 
and  with  the  help  of  two  incandescent  lamps 
worked  by  rheostats  to  send  the  light  in 
gradually,  I  got  pretty  good  results.  Of  course, 
I  could  not  with  this  toy  obtain  the  transforma- 
tions of  a  head,  but  I  could  ripen  a  fruit,  make 
a  doll  come  out  of  it,  change  the  colour  of  the 
latter's  hair,  and  so  on.  As  to  the  use  of 
incandescent  lamps,  I  do  not  think  it  indispens- 
able, and  two  good  petroleum  lamps  would  do 
well  in  this  particular  case. 

If  a  grand  installation  be  aimed  at,  some 
slight  details  are  necessary.  The  lamps,  l  l 
(Fig.  2),  provided  with  reflectors,  are  used  not 
only  to  light  up  the  audience,  but  also  to  dazzle 
them  a  little  at  the  same  time,  and  make  the 
black  ground  in  the  recess  look  the  blacker  ;  the 
plaster  head  should  also  be  moulded  on  that  of 
the  person  who  is  meant  to  give  it  life,  so  as  to 
facilitate  the  superposition  of  the  two  images. 


WRINKLES  FOR  WOODWORKERS. 

By  ED.  C.  ROE,  Junr.,  Honours  and  Silver  Medallist, 
City  and  Guilds  of  London  Institute. 


OilE  time  ago,  it  was  my  privilege  to 
wander  in  imagination  with,  I  hope, 
very  many  readers,  through  an  amateur 
friend's  workshop,  and  during  the  said  ramble 
gave  a  varied  assortment  of  hints  conducive  to 
success,  and  as  preventatives  of  failure.  Not  by 
any  means  was  the  list  of  hints  then  exhausted, 
neither  can  the  following  paper  be  conclusive ; 
for  a  mechanic's  education,  it  is  said,  is  never 
completed,  and  during  the  time  of  tuition  or 
learning,  many  useful  hints  and  methods  are 
picked  up  or  adopted;  so  that  I  may  with 
safety  say  that  the  list  will  be  added  to  at  a 
future  date. 


Nothing  will  be  mentioned  depending  for 
effect  upon  my  former  paper,  so  that  non- 
perusers  will  not  be  placed  in  a  doubtful 
position.  To  many  the  hints  will  doubtless 
seem  as  old  as  the  hills,  but  to  those  who  read 
them  for  the  first  time  they  will  be  equally 
fresh ;  for  the  older  and  more  experienced 
members  of  the  fraternity  must  not  forget  that 
all  must  be  beginners  at  some  time  or  other, 
and  therefore,  if  my  remarks  are  lacking  in 
freshness,  to  pardon  me,  and  seek  to  console 
themselves  in  the  belief  that  many  less  ex- 
perienced persons  will  be  benefited  thereby. 

The  glue-pot  is  a  favourite  theme  of  mine, 
therefore  I  will  dispense  a  few  notes  affecting 
that  useful  receptacle.  Never  thin  glue  out 
with  cold  water,  always  use  hot,  and  see  that  it 
is  clean  and  free  from  grease.  I  have  known 
the  work  of  hours  spoiled  by  the  careless 
thinning  out  of  glue.  Always  keep  the  water 
in  the  outer  vessel  clean  ;  it  is  useful  in  case  of 
an  emergency ;  when  to  find  dirty  water  is  a 
great  annoyance,  and  not  at  all  conducive  to 
successful  and  cleanly  workmanship.  A  capital 
glue-brush  may  be  made  by  beating  the  end  of 
a  piece  of  cane  until  the  fibres  separate,  and 
thus  form  a  brush.  Never  leave  the  brush  in 
the  glue ;  and  after  using,  wash  it  in  clean  hot 
water. 

When  jointing  with  groove  and  tongue,  use  a 
spoon  to  fill  the  groove  with  glue ;  such  a  spoon 
can  be  made  of  a  piece  of  pine  ;  a  sketch  and 
section  are  given  at  Fig.  1.  Cut  out  middle 
part  first,  then  trim  to  shape  outside ;  do  not 
trouble  to  make  it  very  thin ;  also  make  the 
tongue  in  bottom  as  thick  as  possible,  consistent 
with  easy  passage  in  plough  groove.  A  spoon 
can  be  made  similar  in  shape  out  of  zinc,  and  is 
a  very  good  article.  By  the  way,  glue  and 
shoemakers'  paste  mixed  is  j  ust  the  thing  for 
mounting  baize,  or  skiver  (the  name  of  the 
material  used  for  covering  desks  or  writing- 
table  tops),  on  wood. 

Let  us  leave  the  glue-pot,  and  glance  for  a 
moment  at  planes.  Keep  these  well  oiled  with 
linseed  oil.  When  using,  keep  the  bottom 
greased ;  a  small  pot  on  the  bench  is  a  con- 
venience not  to  be  lightly  dispensed  with.  A 
serviceable  oil  or  grease  pot  is  made  as  shown  in 


464 


WRINKLES  FOR    WOODWORKERS. 


Fig.  2.  The  middle  is  bored  out  with  a  centre- 
bit  ;  the  lid  is  hinged  by  means  of  a  brass  cup 
and  screw.  The  sketch  is  half  full-size.  Keep 
filled  with  tallow  ;  a  little  oil  kept  on  top  of  the 
tallow  is  convenient,  and  tends  to  soften  the 
grease,  making  it  easier  to  use. 

If  possessed  of  metal  planes,  keep  their  faces 
and  all  parts  liable  to  rust  smeared  with  vaseline, 
it  being  a  splendid  preparation  for  applica- 
tion to  all  tools,  as  a  preventive  from  rust, 
and  keep  them  in  a  baize  bag  made  for  their 
occupation.  In  the  case  of  moulding  planes,  if 
not  kept  in  a  tool-box,  keep  in  a  box  made 
similar  to  Fig.  3.  Such  a  system  of  storing  is 
tidy,  and  affords  pro- 
per and  ready  means 
of  selecting  the  tool 
of  form  required. 

Never  shoot,  or  in 
less  technical  lan- 
guage, never  attempt 
to  true  the  face  of  a 
plane  by  planing,  or  fig. 4 
otherwise,  with  the 
wedge  and  iron  out  of 
the  stock  ;  they  should 
be  knocked  back  suffi- 
ciently to  clear. 

A    brace    of    hints 
with       reference      to 

chisels  may  be  welcome.  It  is  a  good  thing  to 
place  a  leather  washer  between  the  ferrule  and 
the  collar  of  chisel ;  this  small  matter  will  save 
many  chisel  handles  from  being  broken.  Never 
hit  the  handle  with  a  hammer;  use  a  mallet,  it 
is  for  that  purpose. 

For  the  protection  of  tenon  or  dovetail  saws,  a 
piece  of  wood,  preferably  hard,  the  length  of 
saw  blade,  with  a  saw  kerf  in  centre,  will  protect 
the  teeth  from  damage.  The  kerf  should  be 
made  with  a  finer  saw  than  that  for  which  it  is 
intended,  and  then  the  saw  for  which  it  is  to  be 
used  forced  through  with  the  teeth  at  bottom  of 
kerf  ;  the  object  of  this  is  to  keep  the  protector 
in  position.  The  saw  must  always  be  inserted 
from  either  end,  and  not  pushed  on.  Fig.  4 
will  give  an  idea  of  what  is  meant. 

The  handles  of  carving  chisels  or  gouges 
should  vary  as    much    as    possible,    both    in 


-  r^j 


FIG. 6 


colour  and  form,  so  as  to  afford  a  readier  means 
of  identification.  Should  a  bench  screw  work 
stiffly,  a  mixture  of  milk  and  blacklead  will  be 
found  a  splendid  lubricant ;  the  same  remark 
applies  to  hand  screws. 

Keep  your  spirit-level  in  a  case  ;  nothing  is 
more  easily  made :  simply  take  a  piece  of 
wood  the  same  size  as  level  but  tapering  slightly, 
and  form  round  with  glue  and  paper  a  case  of 
sufficient  thickness,  cutting  places  for  fingers 
in  ends  to  aid  withdrawal. 

It  is  always  advisable  to  use  a  cork  rubber 
when  glasspapering  flat  surfaces  ;  it  is  easily 
made  by  mounting   a  piece  of  cork  on  a  piece 

of  hard  wood ;  a  good 
size  is  4J  inches  by  3 
inches.  It  always  pays 
well,  although  it  may 
seem  waste  of  time, 
when  working  mould- 
ings to  make  a  rubber 
on  which  to  stretch 
the  glasspaper ;  the 
section  of  rubber  will, 
of  course,  be  the  re- 
verse of  the  moulding. 
Rubbers  for  mould- 
ings are  best  made  of 
pine ;  a  good  rubber 
is  a  blessing,  and  will 
save  many  worn  and  sore  finger  tips  and  nails. 

Nothing  is  handier  on  a  bench  than  a  piece  of 
board,  say  1 1  inches  wide  by  2  or  3  feet  long, 
carefully  planed  up,  and  with  a  piece  of  hard 
wood  let  into  the  face  near  one  end  (see  Fig.  5), 
allowing  it  to  stand,  say,  a  bare  \  inch  above  ; 
such  a  board  is  termed  a  tonguing  board,  from 
its  principal  use ;  it  is  used  against  the  bench 
stop  one  end,  and  fixed  to  the  other  by  a  bench 
knife,  another  very  handy  accessory.  It  is 
simply  a  piece  of  steel  about  1  \  inches  by  1  inch, 
sharpened  slightly  one  edge.  A  piece  of  old 
table-knife  blade  makes  a  capital  one.  In  use 
it  is  driven  with  a  hammer  into  the  bench  top 
and  the  end  of  the  material  to  be  held,  the  other 
end  of  the  stuff  being  kept  fixed  by  the  teeth  in 
bench  stop.  Do  not  allow  the  bench  knife  to 
lay  about  anywhere  on  the  bench ;  it  is  never 
to  be  found  if  such  a  practice  is  permitted,  and, 


FI0.3. 


NOTES  ON  NOVELTIES. 


465 


moreover,  may  cause  damage  to  tools  acci- 
dentally placed  on  or  against  it. 

Should  any  stop-chamfering  require  executing, 
use  as  a  template  two  pieces  of  thin  stuff, 
glued  or  screwed  together  at  right  angles  (see 
Fig.  6),  with  the  end  cut  to  angle  required,  or, 
in  the  case  of  ornamental  chamfer  stops,  cut  to 
pattern.  It  is  a  simple  matter,  hut  affords 
means  of  speedy  and  neat  execution  of  the  stops, 
and  may  be  used  as  a  guide  for  the  chisel,  as 
an  ordinary  mitre  template,  or  simply  to  mark  by. 

Just  one  more  little  article,  namely,  a  setting- 
out  knife,  a  most  valuable  tool,  easily  made 
from  an  old  table-knife,  ground  to  an  angle  and 
sharpened  (see  Fig.  7).  Its  use  is  to  cut  lines 
in  the  face  of  material  when  setting  out,  cut 
lines  being  far  more  precise  and  accurate  than 
pencil  lines  to  work  to. 

Thus  we  arrive  at  the  end  of  another— perhaps 
to  be  considered — dry  chapter ;  but  I  trust  that 
such  a  bad  quality  will  be  considered  even  more 
than  balanced  by  the  practical  facts  stated 
therein,  and  that  they  will  prove  of  use  to 
those  to  whom  the  following  motto  may  apply  : 
"  A  little  help  is  worth  a  lot  of  pity." 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 

'HE  PHOTOGRAPHY  ANNUAL.— Iliffe  & 
Son,  St.  Bride  Street,  London,  E.C.  This 
bulky  volume,  insomuch  that  it  is  a  record  of 
what  has  been  done  lately  to  advance  photo- 
graphy, will  be  useful  to  disciples  of  the  art,  whether  they 
be  beginners  or  otherwise.  The  reading  matter  supplies  a 
fund  of  information  which  will  be  interesting  to  all  who 
have  watched  the  Btrides  with  which  photography  has  in 
our  time  progressed,  and  the  beautiful  plates  interspersed 
throughout  the  work — particularly  some  lunar  photo- 
graphs taken  by  the  Brothers  Henry,  Paris,  and  repro- 
duced by  the  Meisenbach  engraving  process — demonstrate 
the  wonders  the  sun  artist  has  up  to  the  present  achieved 
in  the  adaptation  of  his  pictures  so  as  to  obtain  by  their 
means  relief  blocks  for  printing  purposes.  The  price 
of  the  book  is  two  shillings,  which  is  a  very  low  one 
considering  the  way  in  which  it  has  been  produced  and 
embellished. 

Safety  Rudder  Fittingt,  the  invention  of  Mr.  C.  Nugent 
Nixon. — A.  Chapman  &  Co.,  25,  Colville  Terrace,  London, 
W.  It  is  not  easy  to  account  for  the  vitality  which  enables 
old-fashioned  systems,  like  the  pintle  and  gudgeon  method 


of  hanging  rudders,  to  survive  when  we  see  around  us  so 
much  that  is  good,  and  of  modern  introduction,  give  place 
to  improvement  necessitated  by  the  rapid  onward  march 
of  the  age;  it  would  also  be  difficult  to  understand  the 
supineness  with  which  boating-men  have  remained  content 
with,  and  have  reposed  confidence  in,  so  primitive  and 
unreliable  a  device,  but  that  I  suspect  a  better  plan 
has  evaded  the  search  of  all  until  Mr.  C.  Nugent  Nixon 
hit  upon  the  bright  idea  of  employing  a  rod  to  operate  in 
a  partially  open  tube,  thereby  introducing  a  mode  of 
attachment  much  more  secure  and  perfect  than  the  old 
style.  The  dangers  attending  upon  the  old  system 
must  have  been  made  apparent  to  many,  and  there  can  be 
but  very  few  persons  who  ever  concerned  themselves  in 
boating  matters  to  any  extent,  and  did  not  at  some  time  or 


another  have  the  alarming  and  embarrassing  experience  of 
a  rudder  becoming  unshipped  just  at  a  moment  when  cor- 
rect steering  and  proper  control  was  absolutely  necessary 
to  the  boat's  safety.  Such  persons  will  cast  aside  a  method 
so  unsafe,  and  will  hasten  to  procure  rudders  furnished 
with  Mr.  Nugent  Nixon's  fittings,  which  cannot  become 
detached  by  untoward  means  when  passing  over  shallows 
or  other  points  of  difficulty.  The  agencies  that  usually 
lift  a  rudder  out  of  its  fastenings,  do  not  affect  it  when 
furnished  with  these  fittings ;  it  may  rise  in  the  slide,  but 
being  securely  held,  it  falls  again  into  position  as  soon  as 
the  irregularity  is  passed  over.  It  is  unnecessary  for  me 
to  enter  into  a  fuller  description  of  this  clever  invention, 
as  the  illustrations  appended  clearly  detail  its  peculiar 
features ;  but  for  the  benefit  of  those  who  would  like  to 
inspect  it,  I  will  just  mention  that  it  may  be  seen  at  the 
Naval  Exhibition,  Sepping's  Gallery,  No.  64. 

VOL.    III.  (n.S.) — 0    0 


466 


'AMATEUR    WORK"   PRIZE   SCHEME. 


The  Amateur. — (Messrs.  Zilles  &  Co.,  24,  Wilson  Street, 
Finsbury,  London,  E.G.)  The  July  part  of  this  magazine 
has  reached  me,  and  possesses  the  same  useful  features 
that  distinguished  its  predecessors.  It  contains  two  folding 
heets,  one  showing  working  drawings  for  a  cuckoo  clock- 
case  ;  the  other  contains  designs  for  mirror  frames.  These 
sheets  are  both  very  handsome,  and  the  letter-press 
description  is  also  very  clearly  given. 


AMATEUR     WORK 

PRIZE    SCHEME. 

XVI.  — A  Prize  of  One  Guinea  is  offered  for  the 

BEST  SPECIMEN  OF  AMATEUR  WOOD 
ENGRAVING. 

RULES. 

(1).  All  articles  sent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  August  29th,  carriage  paid,  and  addressed 
— The  Editor  or  Amateur  Work,  Warwick  House, 
Salisbury  Square,  London,  E.C. 

(3).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
(except  MS. )  must  enclose  an  addressed  label.  If 
the  article  is  to  be  returned  by  parcel  post,  the 
label  must  be  fully  stamped  ;  if  by  rail,  the  name 
of  the  Railway  Co.  should  be  stated  on  the  label. 
Every  care  will  be  taken,  but  the  Editor  does  not 
hold  himself  responsible  for  articles  sent  in. 

(5).  The  prize  may  be  withheld  if,  in  any  competition,  less 
than  three  competitors  enter. 

(6).  The  decision  of  the  Editor  shall  be  final. 


RESULT  OF  COMPETITIONS. 

XIII.    AND   XIV.     . 


I  once  heard  it  advanced  that  amateurs  practise  photo- 
graphy simply  because  they  find  in  it  a  pursuit 
entailing  no  particular  outlay,  and  one  easy  to 
follow  with  success.  The  assertion  also  implied 
that  amateurs  penetrate  the  mysteries  of  the 
photographic  art  only  so  far  as  the  point  where 
simplicity  ends  and  difficulty  steps  in,  but  beyond 
that  point  they  seldom  venture,  because  considera- 
tion of  the  probable  cost  that  their  researches  would 
result  in  deters  them,  and  the  prospect  of  complica- 
tion that  experimental  work  brings  affrights  them. 
I  had  some  doubt  then  as  to  the  correctness  of 
the  opinion  thus  expressed,  and  since  it  has  been 
my  pleasing  experience  to  examine  and  adjudicate 
upon  amateur  photographic  work  sent  in  for  the 
present  competitions ;  that  doubt  exists  no  longer, 
for  all  the  specimens  before  me  manifest  unlimited 


resolution  to  do  well  in  the  face  of  all  difficulty,  and 
any  one  of  them  is  sufficient  evidence  to  controvert 
depreciatory  opinion.  Every  one  of  the  prints  I 
have  looked  at  help  to  satisfy  me  that  of  all  the  arts 
and  crafts  that  amateurs  delight  to  employ  their 
skill  in,  photography  is  the  favourite,  and  also  is  the 
one  in  which  they  eic  el.  There  may  be  some  reason 
for  this  in  the  fact  that  the  manual  labour  it 
demands  is  scarcely  worth  consideration,  and  the 
reward  of  a  man's  effort  is  not  delayed  for  any 
appreciable  time,  for  instance,  as  the  completion 
of  a  piece  of  elaborate  carpentry  is  deferred  ;  there- 
fore it  approaches  as  nearly  to  an  ideal  leisure 
occupation  as  the  most  exacting  amateur  might 
imagine.  Many  of  the  competitors  have  not  been 
content  with  simply  following  formulae  and  employ- 
ing mechanical  processes,  but  have  also  called 
patient  thought  into  requisition,  and  have  directed 
their  efforts  to  obtain  high  results  ;  that  is  to  say, 
their  aim  has  been  in  an  artistic  direction,  insomuch 
that  they  have  thrown  sentiment  into  their  work, 
and  others  have  even  made  nights  into  the  realms 
of  composition,  and  have  introduced  characteristics 
that  a  connoisseur  expects  to  find  in  a  good  picture. 

XIII. — A  Prize  of  One  Guinea  for  the  best  Specimen 
of  Portrait  Photography. — In  the  Portrait  Class 
the  grades  of  merit  are  decidedly  marked,  although 
all  pictures  sent  in  evince  considerable  care;  but 
there  is  no  doubt  about  the  best  one,  so  far  is  it  in 
advance  of  its  compeers.  It  is  the  portrait  of  a  lady 
seated  by  a  small  table,  with  the  corner  of  a  room 
and  a  small  window  for  background  ;  she  is  shown 
in  the  act  of  writing,  and  the  light  from  the  window 
illumines  the  roundness  of  her  face,  whilst  the  front 
of  her  face  that  is  in  shadow  receives  a  reflex  light, 
imparting  to  the  picture  an  effect  that  only  the 
true  artist  would  conceive.  I  therefore  award  to 
the  author  of  the  picture,  Mr.  G.  Firth,  Oakleigb 
House,  Wakefield,  the  prize  of  One  Guinea  for  the 
best  Portrait  taken  by  Photography  ;  and  the 
following  competitors,  Messrs.  L.  Lowther,  W. 
Mingaud,  W.  B.  Dart,  A.  H.  Bishop,  and  J. 
Chamberlain,  are  highly  commended. 

XIV. — A  Prize  of  One  Guinea  for  the  best  Specimen 
of  Landscape  Photography. — Taking  the  Land- 
scape Class,  I  find  in  it  such  an  array  of  excellence 
that  had  I  three  or  four  prizes  to  bestow  instead  of 
only  one,  I  could  find  more  than  that  number  of 
competitors  worthy  to  receive  the  awards ;  but  as  that 
was  not  to  be  thought  of,  I  gave  careful  consideration 
to  each  one  separately,  and  to  the  excellent  ones 
collectively,  and  at  length  selected  the  scene  in 
Bruges,  sent  in  by  Mr.  S.  W.  Brewis,  65,  Russell 
Street,  Moss  Side,  Manchester,  for  its  sharpness  of 
detail  and  general  careful  manipulation,  as  worthy 
to  receive  the  prize  of  One  Guinea  for  the  best 
Landscape  taken  by  Photography.  The  prints  sent 
in  by  Messrs.  E.  W.  Sampsou,  T.  W.  Binner, 
Launcelot  Gubbin,  W.  E.  Boyce,  A.  H.  Budge, 
H.  Judson,  and  F.  J.  Shaw,  are  highly  commended . 


AMATEURS  IN  COUNCIL. 


467 


AMATEURS  IN  COUNCIL. 


OPEX   TO   AZL   READERS. 


Silvering  Mirrors. 
"A  Spaix  (Middelburg,  Holland):' 
— The  following  is  an  outline  of  the 
process  of  silvering  glass,  as  given  by 
the  author  of  the  series  of  papers  on 
"  The  Reflecting  Telescope,"  which 
appeared  in  ToL  V.  of  Amateur  Work 
(Old  Series).  The  quantities  are  for  a 
speculum  6£  inches  in  diameter,  and  1 
am  afraid  larger  work  would  be 
impracticable  to  many.  In  the  first 
place,  the  plate  to  be  silvered  must  be 
thoroughly  cleansed  with  nitric  acid, 
and  rinsed  with  clean  water.  Three 
solutions  must  then  be  prepared.  (1.) 
A  reducing  solution  composed  of  840 
grains  of  loaf  sugar  dissolved  in  300 
grains  of  distilled  water,  with  39  grains 
of  nitric  acid  and  25  drachms  of 
alcohol,  and  distilled  water  added 
sufficient  to  make  25  ounces  of  fluid. 
(2.)  A  silvering  solution  composed  of 
50  grains  of  nitrate  of  silver  in  2 
ounces  of  distilled  water.  (3.)  A 
potash  solution  consisting  of  50  grains 
of  potash  in  2  ounces  of  distilled  water. 
The  cleansing  being  effectively  done, 
suspend  the  glass  plate  in  a  bath  of 
distilled  water  until  the  silvering 
solution  is  prepared.  Proceed  thus  : — 
Pour  about  one-tenth  part  of  silvering 
solution  into  a  small  bottle  for  future 
use  ;  next  drop  aqua  ammonia  into  the 
main  silver  solution  until  the  precipitate 
which  forms  disappears ;  then  add  the 
potash  solution,  when  a  precipitate  will 
again  be  formed,  which  must  be 
removed  by  adding  more  ammoDia, 
drop  by  drop,  in  just  sufficient  quantity 
to  restore  transparency  to  the  solution. 
Now  add  the  reserve  silver  by  drops, 
constantly  agitating  with  a  glass  rod 
until  the  whole  assumes  a  clear  saffron 
tint,  which  tint  is  essential  to  perfect 
success;  but  if  by  error  a  little  too 
much  silver  be  added,  as  manifested  by 
a  turbid  appearance,  this  turbidity 
must  be  allowed  to  settle,  and  the  clear 
fluid  drawn  off.  The  solution  is  now 
poured  into  a  silvering  vessel  large 
enough  to  allow  of  the  immersion  of 
the  plate,  and  distilled  water  added. 
Now  add  lour  fluid  drachms  of 
the  reducing  solutiou,  and  thoroughly 
Btir    the     whole     with    a    glass     rod. 


The  solution  will  turn  a  pinkish 
colour,  and  the  plate,  being  lifted 
from  its  water  bath,  may  be  im- 
mersed ;  the  piuk  colour  will  shortly 
change  to  brown,  the  change  continuing 
from  brown  to  black,  whilst  a  heavy 
film  of  silver  will  be  thrown  up  and 
deposited  upon  the  under  side  of  the 
glass.  The  glass  is  then  taken  out  and 
rinsed  with  water,  and  allowed  to  dry, 
until  which  time  the  silver  film  must 
not  be  disturbed.  The  whole  is 
finished  by  a  coat  of  varnish  to  protect 
the  silvering. 

Amateur  Work,  Illustrated. 

"  Security  "  (Auckland,  N.Z.)  writes  : 
— "  I  have  Vol.  VIII.,  or  rather  No.  1 
of  the  New  Series  of  Amateur  Work, 
Illustrate!!,  now,  and  am  not  dis- 
appointed with  it.  My  last  job  is  a 
friend's  piano,  which  I  was  tempted  to 
try  and  repair  by  some  of  the  articles 
in  your  books ;  I  have  not  quite 
finished  with  it,  but  am  not  at  all 
doubtful  of  getting  it  fixed  up  very 
creditably.  It  is  surprising  what  one 
can  do  when  he  tries,  and  your  books 
are  calculated  to  inspire  one  to  try 
almost  anything,  especially  in  the 
mending  line.  If  it  is  in  my  power,  1 
would  gladly  be  of  any  use  to  you  1 
possibly  could." 

[I  have  to  thank  you  for  the  hearty 
expressions  of  goodwill  contained  in 
your  letter,  and  am  glad  that  the 
articles  you  mention  have  been 
sufficient  to  guide  you  in  the  job  of 
repairing  you  have  undertaken.  As 
you  say,  one  is  all  unaware  of  the 
work  that  can  be  accomplished  with 
the  assistance  of  a  book  like  Amateur 
Work,  Illustrated  ;  in  fact,  the 
variety  of  subjects  treated  of  therein 
inspires  the  tyro  to  attempt  all  sorts 
of  jobs  that  otherwise  would  be  passed 
by.  I  am  sorry  that  you  were  not 
able  to  arrange  the  matter  of  rubber 
stamps. — Ed.] 

Preparation  of  Horns,  etc. 
H.  Aubrey  Husband,  M.D.  ( Wawo- 
ncsa,  Manitoba). — The  horns  aresteeped 
in  cold  water  for  six  or  eight  weeks, 
or  till  the  core  can  be  withdrawn ;  then 
cut  off  the  solid  tips,  and  boil  for  an 
hour  in  water;  then,  while  hot,  hold 
them  in  the  clear  flame  of  a  wood  fire, 
and  when  sufficiently  soft,  slit  with  a 
strong  knife,  and  open  out  flat,  using 
two  pairs  of  pincers  to  hold  the  horn ; 


lay  between  flat  plates  of  iron  or  wood, 
and  weight  them,  scrape  smooth,  and 
polish  with  Trent  sand  and  oil,  or 
rottenstone  and  oil.  Comb  teeth  are 
cut  with  a  saw  having  two  blades,  and 
scraped  or  filed  smooth.  The  fire-clay 
in  England  is  a  dark  blue  or  black 
shale,  obtained  from  the  coal  measures ; 
it  is  ground  to  a  powder,  sifted,  and 
mixed  with  water  in  a  pug  mill.  Brick 
clay  is  of  various  qualities  and  colours, 
from  dark  blue  to  light  yellow;  it 
should  be  free  from  lime  or  stones, 
which  cauBe  the  bricks  to  crack  in 
burning  ;  if  too  strong  clay,  the  bricks 
will  be  brittle  when  burnt,  and  if  it 
contains  too  much  loam  or  sand,  the 
bricks  will  not  burn  hard  enough  ;  the 
proper  method  of  mixing  will  have  to  be 
found  by  experiment.  There  is  a  sandy 
loam  called  "  Windsor"  loam,  found 
near  that  town,  which  makes  excellent 
fire-bricks.  Flower-pot  clay  may  be 
made  from  ordinary  clay,  by  washing 
the  clay  to  remove  impurities,  and 
running  it  through  a  fine  sieve  in  a 
liquid  state  into  a  pit ;  this,  when  the 
water  evaporates,  is  used,  but  may 
require  an  admixture  to  render  it  less 
brittle,  or  to  make  it  harder.  If  you 
could  3end  me,  through  our  Editor,  a 
iuiall  portion  of  the  soapy  substance,  I 
will  try  to  find  out  for  you  what  it  is. 
It  may  be  shale,  containing  mineral 
oil.  I  have  boiled  bones  for  a  con- 
siderable time,  then  scraped  clean,  and 
cut  up  with  a  saw  for  turning. — E. 

Enamel  Faint. 
"  Albion  "  writes  : — "  I  have  a  hobby, 
when  doing  anything  in  an  amateur 
way,  to  do  as  much  as  I  can  by  my 
own  hands,  and  which  for  years  your 
valuable  paper  has  been  my  chief 
assistant ;  but  I  have  always  come  to 
<*rief  over  my  '  enamel  paints,'  when  I 
make  them,  they  dry  evenly  and  glossy, 
but 'tacky.'  I  do  not  know  how  the 
enamels  in  the  market  are  made,  but  I 
will  describe  my  mode.  I  boil  the  oil 
with  sufficient  driers  until  it  is  con- 
siderably thicker  than  treacle  when 
cool,  then  I  thin  out  with  turps,  making 
my  colours  from  genuine  white  lead, 
and  tinting  to  any  desired  shade. 
Now  I  would  very  much  like  if  you  or 
my  of  your  numerous  readers  could 
;ive  me  a  wrinkle  in  this  matter,  of 
how  to  boil  oil  like  this  to  dry  without 
tack,  or  where  I  could  procure  informa- 
tion on  the  subject  of  enamels." 


468 


AMATEURS  IN  COUNCIL. 


Model  Cutter. 
"  Amateur"  sends  the  following : — "  I 
write  to  say  that  I  have  finished  the 
boat  which  '  Electron '  gave  working 
drawings  for,  and  a  nicer  boat  I  never 
saw.  It  looked  very  easy  to  make,  but 
required  a  deal  of  patience  and  a 
moderate  amount  of  skill  to  make  it 
so  as  to  be  fit  to  be  shown  at  an 
exhibition.  If  anyone  else  has  built  it, 
I  am  sure  they  were,  as  I  was,  surprised 
when  they  saw  the  block  of  timber ;  I 
left  it  a  week  to  season." 

"Amateur." — I  wish  each  of  the 
correspondents  who  write  to  me  under 
a  nom  de  plume  so  generally  chosen, 
would  choose  something  different  and 
more  distinctive  ;  they  will  then  stand  a 
chance  of  having  their  communication 
attended  to  without  the  delay  that  other- 
wise must  arise.  I  am  glad  that  your 
essay  upon  the  model  boat  was  crowned 
with  success,  but  if  you  experienced 
difficulty  over  the  "  governor,"  why 
did  you  not  make  inquiry  through 
'Amateurs  in  Council"? — Ed.] 

Handmade  Brown  Paper 
"  Harrow  Weald." — This  material, 
although  somewhat  out  of  date,  may 
still  be  procured.  It  is  rather  expen- 
sive, and  I  doubt  whether  you  could 
obtain  a  small  quantity.  Write  or 
apply  to  a  respectable  stationer  in  the 
wholesale  trade,  as  one  more  likely  to 
keep  it  in  stock.  Messrs  Tanner  and 
Co.,  of  Salisbury  Square,  Fleet  Street, 
London,  E.C.,  will  give  you  detailed 
information  as  regards  size,  weight, 
and  price ;  that  is,  if  you  seek  to 
purchase  to  the  extent  of  half  a  ream 
or  more. 

Reflecting  Telescope. 
"E.  G.  S.  Ward."  — I  forwarded 
your  letter  to  Mr.  Francis,  the  author 
of  the  articles  treating  upon  the  above 
subject.  Doubtless  by  the  time  this 
appears,  his  reply  has  cleared  up  your 
difficulty. 

Emery  Wheel. 
"E.   J.    Smith." —  I   will   note   the 
matter  you  mention.     Your  article  on 
the    above    subject    will    have    early 
publication. 

Fire  Hand  Grenades, 
C.  H.  Pkitchard. — A  good  com- 
position for  the  fire  hand  grenades  can 
be  made  by  dissolving  five  grains  of 
muriate  of  ammonia  in  one  gallon  of 
water. — G.  E, 


Electrical  Matters. 
"  Desperate  Amateur,"  p.  414. — 
(1.)  If  the  engine  is  to  run  for  any 
length  of  time,  the  boiler  should  not  be 
less  than  10  inches  diameter,  and  20 
inches  long.  Unless  the  engine  is  very 
strongly  made,  it  will  not  run  for  very 
long.  You  will  also  require  a  governor, 
or  some  means  of  keeping  it  at  one 
uniform  speed.  (2.)  You  can  obtain 
small  dynamos  from  Mr.  Bouron, 
electrician,  93,  Praed  Street,  W.,  from 
15s.  upwards.  (3.)  A  smaller  dynamo 
will  not  charge  the  accumulators 
satisfactorily.  (4.)  Mark  the  lever  of 
safety  valve  at  20,  25,  30  lbs.  pressure, 
and  so  on. — E. 

Modelling  In  Clay. 
"  A.  E.  Peake." — A  series  of  papers 
on  "  Modelling  in  Clay,  and  Casting  in 
Plaster  of  Paris,"  appeared  in  Amateur 
Work,  Illustrated, Yol.II.  In  this  Vol. 
the  subject  is  so  well  threshed  out,  and 
much  more  exhaustively  treated  than 
in  the  cheaper  books.  In  fact,  you 
cannot  make  a  mistake  if  you  study  the 
articles  and  carefully  follow  the 
process  as  described  in  them ;  then  the 
price  paid  for  the  volume  will  not  be 
regretted,  when  success  is  placed  so 
nearly  within  reach. 

Hat  and  Umbrella  Stand. 

"  Q.  C.  Yoisey"  writes  that  he  has 
reproduced  some  designs  which  ap- 
peared in  Amateur  Work,  utilising 
them  as  panels  for  a  hat  and  umbrella 
stand.  He  also  says  that  he  has 
exhibited  his  work  in  the  late  exhibition 
at  the  Albert  Hall,  whereat  I  am  much 
gratified.  I  am  sorry,  however,  that 
business  precluded  the  pleasure  I 
should  have  felt  in  inspecting  his 
work ;  but  I  trust  the  stand  received 
honours  that  all  such  meritorious  work 
■leserves. 

Tinsmith's  Blocking  Hammer. 
In  the  June  part  of  Amateur  Work, 
Illustrated,  an  error  escaped  our 
vigilance.  On  page  364  there  is  a 
communication  from  our  respected 
correspondent,  "  H.  J.  W.,"  describing 
the  above  article.  The  drawings 
illustrating  this  description  are  stated 
to  be  one-fourth  full  size.  They  really 
are  one-half  full  size ;  a  mistake  that 
crept  in  during  the  operation  of 
reducing  the  author's  drawings  to  fit 
our  columns, 


Razor  Stone. 

Amateur  (Buralem)  writes: — "Will 
you  kindly  tell  an  old  subscriber  where 
he  can  get  a  good  razor  stone, 
and  about  the  price,  through  your 
'  Amateurs  in  Council.' " 

"  Amateur  (Burslem).'' — If  you  wish 
to  buy  a  good  razor  stone,  communicate 
with  Messrs.  Buck,  Uolborn  Viaduct, 
who  will  supply  you,  and  give  you  the 
information  you  seek,  as  regards  price 
also.  See,  in  reply  to  another  amateur, 
my  remarks  respecting  the  too  general 
use  by  correspondents  of  the  nom  de 
plume  "  Amateur." 

Sensitizing  Photographic  Paper. 

Jambs  M.  Hay  (Peterhead,  If.B.). 
— If  you  will  kindly  procure  from  the 
publishers,  Amateur  Work  for  June, 
1890,  you  will  find  that  I  have  there 
given  full  instructions  for  sensitizing 
albumenised  papers. — A  Printer. 

Imitations  of  Granite,  Marble,  etc. 

"  J.  D." — Messrs.  Lockwood  and  Co., 
of  Stationers'  Hall  Court,  London,  E.C., 
publish  a  work  dealing  with  the  above 
subject;  its  price,  £1  lis.  6d.,  is, 
however,  somewhat  prohibitive. 

Photographic  Matters. 
"  Pro  Bono  Publico." — I  have  no 
doubt  that  the  future  will  evolve  the 
ideal  contributor  who  will  exhaust  and 
bring  up  to  date  the  subject  of  photo- 
graphic apparatus,  by  describing 
explicitly  the  construction  of  bellows 
and  dark  slides,  and  the  "Barnett" 
single  slide  also.  I  do  not  allow, 
however,  that  we  are  far  behind  in  the 
matter  of  photography,  nor  that  our 
instructions  are  otherwise  than  clear 
enough  for  an  amateur  to  follow  suc- 
cessfully. It  is  gratifying,  however,  to 
know  that  you  approve  of  Mr.  Parkin- 
son's articles.  I  will  make  a  note  of 
your  coupon  question,  although  it  does 
not  quite  commend  itself  to  my  ideas 
as  an  advantage,  for  ready  money 
always  empowers  a  purchaser  to  buy 
in  the  cheapest  market,  and  you  can 
obtain  goods  at  the  larger  co-operative 
stores,  and  thus  enjoy  the  privilege  of  a 
discount. 

Replies  Devoid  of  General  Interest. 
"  O.  N."  (Maginnis,  Cleveland,  Ohio). 
— Your  article  to  hand.    I  will  take  an 
early  opportunity  to  peruse  it. 

LETTERS  RECEIVED  UP  TO  JULY  10. 
A.  W.  Dixon;  Amber;  Rev.  T.   g. 

Shaw  Snakes  ;  W.  D, 


PRESENTED  WITH  -AMATEUR  WORK,  ILLUSTRATED,"  PART    XXXIV.  fNew  Series).      September, 


WARD,    LOCK.   BOWDEN,  &  CO.,   LONDON,    NEW   YORK.   8,    ■MELBOURNE 


AN  ELECTRIC  DISTRIBUTOR. 


469 


AN  ELECTRIC  DISTRIBUTOR. 

By  PROF.  L.  HARISSIATTX. 


UCH  has  been  done  of  late  concerning 
distributors  of  all  kinds.     The  move- 
ment was  originated,  undoubtedly,  by- 
drop  a  penny  in  the  box"   affairs;  these 
boxes  were  wound  up  by  means  of  a  spring  like 


of  money.  I  am  told  that  there  are  in  America 
some  distributors  that  give  out  a  glass  of  hot 
wine,  coffee,  tea,  or  cocoa.  We  must  acknow- 
ledge that  this  is  quite  new,  and  quite  American. 
One  of  my  countrymen,  whose  name  I  cannot 
just  now  remember,  has  invented  (and  this  is 
no  toy-like  invention)  a  machine  of  the  "  drop 
a  penny"  type  that  makes  a  fellow's  likeness. 
In  this  particular  case,  *'drop  a  penny"  is,  for 


|a  clock,  and  the  inside  works  differed  very  little 
[from  those  of  a  common  American  timepiece. 
LSince  then,  great  progress  has  been  achieved,  and 
Fe  have  seen  automatic  distributors  working  by 
leans  of  a  counterpoise ;  but  these,  somehow  or 
other,  did  not  answer.     Our  Steele  de  lumtere  ex- 
pected something  better.  An  agency  was  at  hand, 
lowever,  to  do   the  work — I  mean  electricity. 
[here  are  in  London  and  Paris,  planted  about 
le   important   streets,  at  the  railway  stations 
|lnd  other  public  places,  distributors  which,  for 
penny,  give  their  customers  a  box  of  matches, 
I  newspaper,  some  chocolate  creams,  a  post-card, 
and,  in  fact,  any  small  articles  of  identical  volume 
and  weight  that  can  be  sold  for  one  certain  piece 

Vol.  in.  (New  Series).— Part  34. 


a  reason  easy  to  guess,  replaced  by  "drop  a 
piece  of  fifty  centimes."  All  directions  as  to  the 
position  and  time  of  sitting  of  the  customer  are 
given  outside  in  a  very  clear  and  plajp  way,  and 
after  a  few  minutes'  waiting,  he  gets  his  por- 
trait in  the  shape  of  a  ferrotype. 

But  let  us  return  to  our  muttons,  as  a  friend  of 
mine  facetiously  quoted  from  the  French.  This 
electro-automatic  distributor  is  not  so  compli- 
cated that  an  amateur  of  medium  abilities 
could  not  make  it.  It  requires  a  little  exactness 
in  its  construction.  I  give  first  (Fig.  1)  an  out- 
side view  of  the  distributor  ;  Fig.  2  is  the  inside 
view,  the  apparatus  being  opened  from  behind. 
No.  3  is  a  detailed,  or  explanatory  figure.  I  think 
VOL.  III.  (n.s.) — p  p 


470 


CHURCH  CLOCKS. 


this  distributor  is,  at  the  present  time,  the  only 
one  extant  whose  working  is  completely  executed 
by  the  apparatus  itself.  The  annexed  plan  (Fig. 
3)  will  allow  my  fellow  readers  to  understand 
more  easily  the  whole  mechanism. 

The  electro-automatic  distributor  consists  of 
a  delivery  wheel,  a,  upon  which  are  arranged 
a  number  of  square  compartments,  all  of  the 
same  capacity;  in  these  are  placed  the  boxes 
or  any  small  parcels  that  are  to  be  sold  by  the 
machine.     As  a  matter  of  course,  these  boxes 


Sattery 


FIG.   3. 


must  all  be  of  the  same  volume  and  weight ; 
they  come  out,  one  at  a  time,  at  x,  as  the  wheel 
moves  in  the  direction  of  the  arrow.  We  see 
on  the  left  a  flat  tube,  in  which  a  penny  (or  any 
other  coin)  is  to  be  placed.  Need  I  add  that  a 
tube  prepared  to  receive  penny  coins  is  useless 
when  sixpenny  pieces  are  to  be  used.  At  a  given 
place  in  the  tube,  t,  are  two  points  of  contact, 
m  and  n,  that  leave  an  empty  space  just  a  little 
smaller  than  the  aforesaid  coin. 

In  the  lower  part  of  the  apparatus  is  a  battery : 
three  or  ftur  jars  would  do  ;  it  all  depends  on 
the  accuracy  with  which  the  distributor  has  been 
constructed,  and  also  of  the  resistance  produced 
by  all  the  axes,  and  so  forth.  The  current  passes 
through  the  magnet,  e,  but  is  interrupted  only 
between  m  and  n.  If  we  place  a  penny  piece  in 
the  tube,  t,  it  falls  down,  stopping  on  the  two 
contact  points,  m  and  n  ;  completes  the  circuit, 
and  the  current,  passing  through  the  coin, 
causes  the  magnet,  e,  to  act ;  the  armature,  f, 
swinging  on  o,  and  kept  up  by  a  spring,  r,  whose 
tension   is  regulated  by  a  thumbscrew,  s,  the 


armature,  f,  is  thus  attracted  by  the  magnet, 
and  raises  its  other  end,  h,  which  was  caught  in 
one  of  the  notches  that  run  round  the  wheel,  one 
for  every  compartment.  The  wheel,  a,  being 
free,  and  called  into  action  by  a  counterpoise,  b, 
and  also  by  the  weight  of  the  small  boxes  placed 
in  the  top  compartments,  begins  a  rotary  motion, 
and  lets  go  at  x  one  of  the  small  parcels  of 
sweets,  or  whatever  it  may  be  ;  the  latter  slips 
down  on  an  inclined  plane,  and  emerges  from  the 
apparatus.  It  must  be  noticed  that  the  contact 
point,  m,  is  movable  ;  it  is  part  of  an  elbow-piece 
made  of  brass,  swinging  on  l,  and  ending  on  the 
other  arm  in  a  small  peg,  k,  that  catches  in  one 
of  the  notches  round  the  wheel.  Immediately 
the  latter  has  begun  its  rotary  motion,  one  of 
the  divisions  raises  peg,  k,  the  elbow  pivots  on 
l,  and  contact,  m,  getting  further  away  from  n, 
allows  the  coin  to  go  down  into  the  cash  box. 

The  current  is  then  interrupted,  the  armature, 
f,  is  brought  back  to  its  former  position,  called 
back  by  spring  e,  and  the  peg,  h,  catches  again 
in  the  next  notch,  and  stops  the  wheel.  The 
apparatus  is  now  at  rest,  waiting  to  attend 
fresh  customer  when  another  coin  is  put  in  at 
the  proper  place. 

Several  tubes  of  the  same  size  as  the  delivery 
wheel  compartments,  are  placed  on  the  top  of 
the  wheel,  and  are  filled  up  with  small  boxes, 
which,  by  their  own  weight,  come  down  and 
replenish  the  empty  places  below.  An  electric 
bell  tells  us  that  the  coin  has  reached  its 
destination.  Fig.  1  gives  an  outside  view  o^ 
the  apparatus  :  a  young  gentleman  is  treating 
himself  with  a  box  of  sweets.  It  also  shows  us 
one  of  many  shapes  that  may  be  given  to  th< 
electro-automatic  distributor. 


CHURCH    CLOCKS: 

HOW  TO  MAKE  ONE  FOE  A  TRIFLE. 
By  W.  A.  ALLEN. 


I.  — Introduction  —  Wheels  —  Frame  —  Escapement  j 
Drum  for  Winding — Maintaining  Power. 

HAVE  no   doubt  that   many  of  on 

readers  have  been  placed,  like  mysel 

in  an  out  of  the  way  place,  with  plenl 

of  time,  a  few  tools,  very  little  amusement,  and 

less  cash.     This  was  how  I  found  myself  a  few 


CHURCH  CLOCKS. 


471 


years  ago.  The  village  curate  soon  became  my 
only  companion  ;  and  when  I  told  him  I  was  a 
mechanic,  he  opened  his  heart  to  me  about  the 
church  clock.  It  was  made  no  one  knew  when, 
had  only  one  hand  to  it,  with  a  big  stone  for  a 
weight,  and  if  it  went  one  hour  a  week,  it  was 
as  much  as  could  be  expected  of  it,  which,  in 
these  times  of  railway  trains  and  telegraphing, 
was  not  only  useless,  but  ridiculous.  He  had 
gone  into  the  price  of  a  new  one,  had  been 
promised  some  money  for  the  purpose,  but  found 
it  was  beyond  his  means,  as  he  could  not  get  one 
the  size  for  less  than  £70  or,  perhaps,  £80,  and 
if  to  strike,  twice  that  amount.  I  therefore 
promised  to  make  him  a  new  one,  which  I  did. 

The  framework  was  what  is  known  as  the 
mangle  kind,  the  escapement  was  the  double 
three-legged  gravity,  compensating  pendulum 
and  maintaining  power  to  keep  it  going  when 
wound  up,  which  it  required  once  a  week  ;  in 
fact,  it  was  a  copy  (only  a  size  smaller)  of  "  Big 
Ben,"  the  celebrated  clock  of  Westminster.  It 
has  now  been  going  several  years,  has  never 
been  more  than  a  minute  or  two  out  in  twelve 
months,  and  it  only  cost  me  a  few  shillings  for 
materials.  A  lathe  of  some  sort,  a  few  files, 
etc.,  plenty  of  elbow  grease,  and  a  little  brains, 
are  all  that  is  requisite  ;  with  these,  it  is 
astonishing  what  we  can  do  if  we  try. 

Now,  believing  that  a  great  many  of  the 
readers  of  "Ours"  would  like  to  make  one,  if 
not  for  a  church,  for  a  similar  purpose,  such  as 
a  large  works,  a  stable,  a  drinking  fountain,  or 
the  thousand  and  one  other  places  where  a  large 
and  reliable  timekeeper  is  required,  I  have 
been  induced  to  pen  these  instructions,  which 
will  enable  any  amateur  to  make  one,  and 
without  any  previous  knowledge. 

The  first  thing  we  have  to  do  is  to  consider 
where  the  clock  is  to  be  fixed,  and  what  drop 
we  shall  have  for  the  weights  ;  also  size  and 
number  of  dials.  Tou  have  all  heard  of  the 
man  who  built  a  carriage  in  his  bedroom,  and 
had  to  knock  it  to  pieces  to  get  it  out.  "Well, 
we  do  not  want  to  be  like  him,  so  will  think  all 
these  things  out  before  we  begin.  Now,  I  take 
it  for  granted  that  you  know  next  to  nothing 
about  the  clock-making  trade,  and  I  am  not 
writing  this   article   for   clock-makers  or  their 


apprentices ;  but  if  there  are  any  such  amongst 
the  readers  of  Amateur  Wokk,  I  flatter  myself 
there  will  be  something  even  for  them  to  learn. 
In  order  to  understand  the  subject,  it  will  be  as 
well  to  have  a  good  look  at  an  ordinary  clock. 
Tou  will  find  there  is  a  wheel  having  a  weight 
or  spring  attached,  to  make  it  revolve ;  this  is 
called  the  great  wheel,  and  is  always  the  largest 
wheel  in  the  clock ;  all  the  others  must  be 
smaller  in  diameter  as  they  recede,  or  they  will 
not  clear  the  spindle  (arbour).  The  centre 
wheel,  to  which  the  hands  are  attached,  comes 
next ;  one  or  two  intermediate  wheels,  called 
third  and  fourth ;  and,  lastly,  the  scape-wheel, 
that  works  the  pallet,  which  in  its  turn  works 
the  pendulum.  Now,  it  will  be  seen  that  if  the 
centre  wheel  is  required  to  revolve  in  an  hour, 
and  the  scape  wheel  revolves  sixty  times  to  its 
once,  it  will  beat  in  seconds,  and  the  pendulum 
must  be  the  exact  length  to  allow  it  to  do  so. 

The  plates,  as  they  are  called,  which  is  the 
framework  to  hold  or  carry  the  wheels,  are  made 
for  small  clocks  of  sheet  brass,  about  £  inch 
thick,  held  together  by  pillars  ;  but  as  this  is  a 
plan  that  has  nothing  but  a  foolish  custom  to 
recommend  it,  I  will  not  describe  it  any  further. 

The  better  plan  is  what  is  known  as  the 
mangle  frame,  and  should  have  been  called  the 
steam-engine  bed,  as  it  is  more  like  that  than 
anything  else.  It  consists  of  a  framework  of 
cast-iron  (see  Pig.  1),  with  a  flange  at  the 
bottom  edge,  to  bolt  down  to  the  wood  frame- 
work. The  bearings,  or  holes,  as  they  are 
called,  are  cast  in  brass,  and  fitted  to  the 
framework  with  little  bolts  and  nuts,  or  screws 
(see  Fig.  2);  this  does  away  with  the  difficulty 
of  pitching  the  depths,  a  matter  of  great 
importance,  and  no  easy  task  to  a  clock-maker. 
You  simply  put  the  wheels  in  the  bearings,  and 
when  they  run  easy,  true,  and  square,  secure — 
and  then  the  job  is  done. 

The  cutting  of  the  wheel  is  another  important 
and  expensive  item  that  would  run  into  several 
pounds;  but  we  shall  avoid  this  expense  by 
using  lathe  change  -  wheels,  costing  a  few 
shillings  only,  and  which  are  far  better  than 
cut  brass  ones  at  twenty  times  the  cost.  Messrs. 
Loyde  &  Co.,  Steelhouse  Lane,  Birmingham, 
sell  cast-iron  change-wheels,  almost  any  number 


472 


CHURCH  CLOCKS. 


of  teeth  or  pitch,  beautifully  soft,  true,  and 
smooth.,  only  requiring  boring,  when  they  are 
good  enough  for  any  ordinary  job.  If  you  want 
the  clock  to  look  nice,  touch  up  the  teeth  with  a 
warding-file,  and  polish  the  rim  when  running 
in  the  lathe ;  the  hollow  must  be  painted,  as 
well  as  all  the  framework,  pendulum,  etc. 

The  escapement  consists  of  all  the  parts  that 
make  the  tick,  or,  rather,  the  parts  that  govern 


suitable — the  pin  wheel,  the  dead  beat,  and  the 
double  three-legged  gravity,  the  first  being  the 
easiest  to  make,  and  the  last  the  most  difficult. 

The  pin- wheel  escapement  is  very  simple,  and 
however  roughly  made,  will  give  very  good 
result.  I  repaired  one  some  time  ago,  that 
was  a  thing  to  be  wondered  at — nothing  true 
about  it,  a  very  old  one  that  had  been  in  some 
bungler's  hands,  who  had  done  his  best  to  spoil 


DESCRIPTION 


FIGURES. 


FIG.  I. — FRAME  FOR  CLOCK,  THE  LARGE  END  TO  TAKE  BARREL.  FIG.  2. — BEARING  CAST  IN  BRASS,  TO  BE  BOLTED  TO 
FRAME.  FIGS.  3  AND  4. — SIDE  AND  FRONT  VIEW  OF  WINDING  DRUM  ;  A,  RATCHET  WHEEL  FOR  MAINTAINING  POWER  ; 
B,  SMALL  RATCHET  TO  ASSIST  WINDING  ;  C,  GUT  WHEEL  ;  D,  SPRING  TO  CONNECT  GUT  WHEEL  TO  RATCHET  WHEEL,  A  ; 
E,  DRUM  ;   F,  WEIGHT  ;   G,  ARBOUR  ;   H,  HOOK  FOR  WEIGHT  ;   I,  CRANK  KEY.      FIG.  5. — ADDITIONAL   WEIGHT. 


or  control  the  wheels,  and  compel  them  to  run 
down,  always  and  only  in  the  proper  time. 
My  object  in  putting  the  escapement  before  you 
first,  is  not  because  I  wish  you  to  begin  at  that 
end,  but  it  is  one  of  the  first  things  to  be  decided 
upon,  as  we  have  to  make  the  other  parts  to 
suit  it,  and  not  the  escapement  to  suit  the  other 
parts.  There  are  many  different  kinds,  but  I 
shall  restrict  myself  to  three,  all  of  which  are 


it;  but,  strange  to  say,  and  to  my  great  sur- 
prise, it  keeps  remarkable  time ;  so  I  strongly 
recommend  this  escapement  to  a  beginner.  We 
will,  therefore,  proceed  with  one  of  this  class,  of 
which  I  will  give  the  fullest  details,  as  many  of 
the  parts  will  be  the  same  for  the  other  escape- 
ments, and  will  not,  therefore,  be  repeated. 

Having  given  you  a  general  idea  of  the  work, 
I  will  now  take  each  wheel  separately,  and  will 


CARDBOARD   DARK  SLIDES  FOR  PHOTOGRAPHERS. 


473 


begin  -with  the  great  wheel  (see  Fig.  3),  to 
■which  is  attached  the  drum,  upon  which  the 
line,  or,  rather,  the  steel  rope,  is  wound.  It 
must  also  have  what  is  called  a  maintaining 
power,  which  is  an  attachment  to  keep  the 
clock  going  when  being  wound  ;  as  without  this, 
it  would  lose  as  many  seconds  or  minutes  as  it 
took  to  wind.  It  will  also  require  a  click  and 
wheel,  to  allow  the  barrel  to  wind  one  way  only 
(see  Fig.  4),  the  arbour,  with  one  end  square,  to 
put  the  key  on,  and  the  other  end  turned  to  a 
pivot ;  the  centre  must  be  very  strongly  secured 
to  the  barrel,  one  side  of  which  stands  up  a 
little,  forming  a  flange  to  prevent  the  line 
running  off.  On  the  other  side,  or  flange,  is 
the  click  wheel ;  a  good  way  is  to  have  it  cast 
in  one  piece,  with  a  square  hole  in  centre  for 
the  arbour,  which  can  then  be  made  of  square 
steel,  and  turned  for  the  wheels  and  pivots.  The 
maintaining  power  wheel  will  carry  the  click  (see 
Fig.  4),  this  click  being  pivoted  iuto  the  frame 
of  the  clock,  the  maintaining  power  wheel  is 
secured  to  the  great  wheel  by  a  pin  secured 
to  maintaining  spring,  the  other  end  of  which 
works  into  a  slot  cut  in  the  great  wheel ;  this 
is  secured  to  the  arbour  by  a  collet  with  a  pin 
through  it.  Now,  it  will  be  seen  that  when  the 
clock  is  going,  the  weight  acts  on  the  wheel 
through  the  spring  (see  Fig.  4),  but  as  soon  as 
you  take  off  the  weight  by  winding,  the  click, 
whose  pivots  are  set  in  the  frame,  prevents  the 
maintaining  wheel  from  falling  back,  and  so  the 
spring  still  drives  the  great  wheel  during  the 
time  the  clock  takes  to  wind,  especially  as  it 
need  only  just  keep  the  escapement  going,  for 
the  pendulum  will  take  care  of  itself  for  that 
time.  This  may  seem  rather  a  complicated  job, 
but  it  is  quite  simple  when  you  understand  it 
thoroughly.  The  click  wheels  and  all  the 
patterns  can  be  made  of  wood,  and  cast  in  iron 
at  a  small  cost.  ilr.  T.  Milnes,  Ingleby  "Works, 
Brown  Boyd,  Bradford,  the  well-known  machine 
tool  maker,  has  my  patterns,  and  will  willingly 
supply  the  castings  for  any  of  the  necessary 
parts,  on  the  most  reasonable  terms. 

The  number  of  teeth  in  the  great  wheel, 
diameter  and  length  of  the  barrel,  will  depend 
upon  the  height  of  drop  we  can  allow  the 
weight ;   and   as  some   of  you   do    not  care   to 


work  it  out  for  yourselves,  I  will  suggest  160 
teeth  working  into  a  pinion  of  20,  the  barrels 
4  inches  diameter ;  this  will  give  twenty-four 
revolutions  in  eight  days,  with  a  fall  of  the 
weight  of  24  feet. 

The  weight  will  depend  upon  the  size  and 
number  of  dials,  the  finish  and  workmanship  of 
the  clock,  the  length  and  weight  of  the 
pendulum,  and  many  other  things  beside  ;  but 
for  the  clock  we  are  about  to  make,  with  one 
dial,  of,  say,  6  to  8  feet  diameter,  we  will  say 
about  56  lbs.  weight.  It  is  simply  a  round 
block  of  cast-iron,  flat  at  the  ends,  with  a  hole 
in  the  centre  to  put  a  hook  through  (see  Fig.  3), 
and  if  not  heavy  enough,  we  can  add  to  it,  by 
pieces  shaped  somewhat  like  a  cheese  (see 
Fig.  5). 

♦ 

A  CARDBOARD  DARK  SLIDE  FOR 
PHOTOGRAPHERS. 

By  D.   WILSON. 


h 


S  everyone  who  has  dabbled  in  photo- 
graphy knows,  the  slide  in  which  the 
plates  are  held  is  a  most  important 
part  of  the  apparatus.  The  popular  form  of 
dark  slide  is  double,  to  hold  two  plates;  but, 
beyond  convenience,  there  is  no  reason  why  it 
should  be  so.  For  all  practical  purposes,  a  slide 
holding  one  plate  is  equally  effective  provided 
it  is  light  tight.  This  capability  of  keeping  the 
plate  from  the  influence  of  light,  except,  of 
course,  that  which  reaches  it  during  exposure 
through  the  lens,  is,  after  all,  the  grand  feature 
about  a  dark  slide  ;  and  one  which  is  not  "dark" 
when  the  shutter  is  closed,  is  little  more  than  a 
delusion  and  a  snare. 

There  are,  no  doubt,  many  readers  of  this 
magazine  who  have  tried,  or  would  like  to  try, 
to  make  their  own  apparatus,  and  there  is 
equally  little  doubt  that  many  try  and  fail  on 
account  of  difficulties  which  they  cannot  over- 
come. The  camera,  perhaps,  they  can  manage, 
for  though  it  may  not  be  a  very  handsome  one, 
so  far  as  appearance  goes,  if  it  is  light  tight  it 
may  be  used  with  as  much  success  as  the  most 
highly  finished  production.  The  dark  slide,  how- 
ever, is  a  different  matter,  for  a  considerable 


474 


CARDBOARD  DARK  SLIDES  FOR   PHOTOGRAPHERS. 


FIG. I.  Second 
wztk 


degree  of  skill  is  necessary  in  making  it,  and  it 
is  no  wonder  that  many  beginners  fail  with  it. 
"When  the  best  material  cannot  be  had,  the 
wisest  alternative  is  the  adoption  of  that  which 
comes  nearest  to  it ;  and  applying  this  principle 
to  dark  slides,  it  may  be  said,  if  we  cannot  man- 
age to  make  or  afford  to  buy  good  mahogany 
double  dark  slides,  let  us  make 
useful  single  ones  of  cardboard. 
This  is  an  easily  workable 
material,  and  no  tools  are  re- 
quired beyond  a  good  sharp 
penknife;  materials,  cardboard 
and  glue  ;  nothing  can  be  sim- 
pler, and,  if  properly  handled,  I 
can  vouch  for  it,  good  useful 
slides  can  be  made  at  the 
smallest  possible  cost,  easily 
and  quickly.  Neatness  and 
accuracy  are  the  principal  per- 
sonal qualifications  required  by 
the  maker,  together  with  a 
certain  amount  of  patience ;  if 
he  is  lacking  in  these,  he  may 
as  well  relinquish  the  notion  of 
making  photographic  apparatus 
of  any  kind,  or,  for  that  matter, 
of  practising  photography  at 
all,  for  he  will  not  succeed. 

The  camera  for  which  I  have 
made  cardboard  dark  slides  is 
one  of  Lancaster's  old-fashioned 
"  instantographs,"      and      any 
directions  will  apply  to  it.     I 
mention  this,  as  different  makes 
of  cameras  may  require  slight 
modifications  in  the  slides,  in 
order    that    the    fit    may    be 
right.     In  the  camera  referred 
to,     as      is     no     doubt     well 
known,  the  slide  is  grooved  on  its  outer  edges, 
to  allow  of    small  brass   plates   fitting   within 
them,  and  holding  the  slide  in  close  contact  with 
the  camera  framing  behind.     Perhaps  I  should 
say  that    the    instrument  is  for  J  plates,   and 
without  saying  that  cardboard  slides  may  not 
be  made  for  larger  sizes,  I  can,  from  personal 
experience,  only  answer  for  the  small  size.     If 
I  had  a  larger  camera,  I  should  certainly  not 


ajSgezgzz 


5 


a: 


£ 


hesitate  to  try  cardboard  slides  for  it,  in  the 
full  expectation  that  they  would  do. 

The  cardboard  should  be  good  hard  stuff,  for 
the  soft  fluffy  kinds  are  not  so  suitable,  though 
they  are  more  easily  cut.  The  glue,  also,  should 
be  good,  and  not  only  good  in  quality,  but 
freshly  melted,  and  hot ;  not  stuff  which  has 
been  melted  and  remelted  till 
it  has  lost  its  strength.  The 
knife,  especially  towards  the 
point,  must  be  sharp,  and  as 
the  cardboard  soon  blunts  it,  an 
occasional  rub  on  an  oilstone 
will  be  necessary  as  the  work 
proceeds. 

The  first  or  front  piece  of 
the  slide  is  of  thick  cardboard, 
nearly,  if  notquite, thick  enough 
to  fill  the  groove  formed  by 
the  pieces  of  brass  above  re- 
ferred to  ;  it  should  fit  closely, 
but  not  so  tightly  that  it  can- 
not be  inserted  and  withdrawn 
easily.  If  it  is  too  thin,  the 
waste  space  can  easily  be  filled 
up,  either  by  glueing  cardboard 
of  suitable  thickness  on  to  the 


-e  of  (hndboard 
catoat 


hHDIVr   XHUI  ItH 


PLATE 


F\z.2.Sechonoi'sideofSUdesbJ?w&^  camera,    or   on   to  what   must 
shatters  and  plates.  UOw    be    called    the    front    of 

the  slide. 

Out  of  this  front  cut  a  hole 
corresponding    to   the   size   of 
the  plate,   or  measuring,    say, 
4    by    3    inches,    or    a    trifle 
larger,  especially  in  length,  in 
order  to  allow  of  a  stop  being 
placed    on    the    front    of    the 
shutter,   and  prevent  it   being 
altogether  withdrawn  acciden- 
tally.     If    it    is    desired    that 
this  precaution  should  be  taken,  and  it  may  as 
well  be,  for  very  little  more  work  is  entailed  by 
it,  an  extra  space  of,  say,  \  inch  should  be  made 
at  the  top;    that  is  to  say,  start  the  opening 
where  it  will  clear  the  wood  of  the  camera,  and 
make  the  opening  4J  inches  long. 

The  next  piece  of  cardboard  need  only  be  thin 
— one-third,  or  one-half  of  the  front  piece  will  be 
ample.     I  have  used  some  which  is  little,  if  at 


F  l  C .  3.  Top  ends  of  Shatters 


CARDBOARD  DARK  SLIDES  FOR  PHOTOGRAPHERS. 


475 


all,  thicker  than  half  a  dozen  of  the  pages  that 
this  is  printed  on  would  be  if  stuck  together, 
and  have  found  it  quite  sufficient.  Anyway,  the 
mode  of  proceeding  is  the  same  whatever  the 
thickness. 

From  this  second  piece  the  shutter  itself  is 
formed,  as  well  as  the  framing,  if  it  may  be 
called  so,  within  which  it  slides.  The  piece,  we 
may  conclude,  fits  just  within  the  edges  of  the 
two  brass  slips  on  the  camera,  is  just  their 
thickness  or  a  trifle  more,  and  1  inch  longer  than 
the  first  piece  of  card,  beyond  which  it  should 
extend  at  the  bottom  to  overlap  the  edge  of  the 
camera  framing.  Please  note  I  am  referring 
only  to  an  old  instantograph,  and  other  makes 
may  not  need  the  same  arrangement.  The 
remainder  will  project  above  the  camera  top,  to 
afford  a  hold  by  which  the  slide  may  be  opened. 
Now  cut  this  second  piece  of  card  some  \  inch 
wider  in  the  opening  than  in  the  first,  \  inch 
lower,  and  right  through  to  the  top,  as  in 
Fig.  1,  -which  is  not  drawn  to  any  particular  scale, 
but  is  given  to  show  the  method.  The  cuts  of 
this,  and,  indeed,  of  all  the  pieces,  should  be 
guided  by  a  straightedge,  for  if  they  were 
irregular  the  slide  could  not  act  well.  It  is  also 
important,  especially  in  this  piece,  that  the  cuts 
should  be  quite  parallel,  or  if  there  is  any 
divergence,  let  the  piece  cut  out  be  wider  at  the 
top  than  at  the  bottom ;  it  must,  however,  be 
the  merest  trifle,  for  if  much  narrower  at  the 
bottom,  there  might  be  a  risk  of  light  getting 
into  the  plate  on  the  shutter  being  opened.  This 
risk  is  diminished,  but  not  altogether  done  away 
with,  by  making  the  shutter  wider,  so  that  the 
pieces  in  front  and  behind,  between  which  it 
slides,  overlap  more.  The  best  way  is  to  do  away 
with  all  risk  by  accurate  workmanship.  When 
ready,  glue  the  second  piece,  or  rather  the 
edges  cut  from  the  shutter,  on  to  the  back  of 
the  first  piece  ;  the  best  way  to  do  this  is  to  put 
the  first  piece  in  its  place  in  the  camera,  put  the 
glue  thinly  on  the  other,  and  press  it  down. 
The  brass  strips  afford  an  accurate  guide  when 
placing  it.  As  soon  as  possible,  taking  care 
when  doing  so  not  to  disturb  the  relative 
positions  of  the  two  pieces,  put  under  a  weight, 
and  leave  them  there  till  adherence  is  firm.  If 
any  glue  has  exuded  at  the  edges,   scrape  it 


away  before  it  gets  hard,  especially  from  the 
inner  edges,  where,  if  left,  it  would  seriously 
interfere  with  the  easy  action  of  the  shutter,  and 
at  the  others  would  make  the  slide  fit  too  tightly. 
To  test,  lay  the  shutter-piece,  and  note  if  it 
slides  freely. 

Any  convenient  thickness  may  be  used  for  the 
next  piece  of  card,  the  object  of  which  is  two- 
fold, viz.,  to  prevent  the  shutter  touching  the 
film  on  the  plate,  and  to  afford  a  support  for 
this  in  front.  A  thin  piece  will  do  all  that  is 
required.  Its  upper  edge  will  be  equal  with  the 
first  piece,  and  at  the  bottom  it  may  as  well 
extend  as  low  as  the  second  piece  does.  In  width 
it  should  be  great  enough  to  lap  over  the  brass 
strips,  or,  say,  be  equal  to  the  front  piece  of  card. 
The  hole  to  be  cut  in  it  must  be  less  than  the 
size  of  the  plate,  and  if  it  measures  4  by  3,  it 
will  be  about  right.  The  smaller  the  hole  the 
less  of  the  surface  of  the  plate  will  be  exposed ; 
that  is  all,  but  the  margin  should  not  be  cut  too 
fine.  The  bottom  and  sides  of  this  hole  will 
correspond  with  the  same  in  the  front  piece,  the 
top  being  \  inch  lower.  Now  glue  this  in  its 
place,  applying  the  glue  to  the  surface  of  the 
second  piece,  and  taking  particular  care  that 
there  is  none  to  squeeze  out  into  the  space 
within  which  the  shutter  works,  for  it  will  be  a 
difficult  matter  to  clear  it  away.  If  the  glue  is 
only  rubbed  on  thinly,  this  misbap  may  easily 
be  avoided.  When  this  third  piece  is  firm,  the 
shutter  may  again  be  tested ;  if  it  works  easily, 
all  is  well,  and  the  remainder  of  the  work  is, 
comparatively  speaking,  child's  play. 

The  next,  or  fourth  piece,  must  be  as  nearly 
as  possible  the  thickness  of  the  plates,  and  must 
certainly  not  be  thinner,  for  the  plates  lie  within 
the  hole  to  be  cut  in  it.  The  full  size  of  the 
piece  will  be  the  same  as  the  third,  though, 
except  for  the  sake  of  neatness,  it  may  be  larger. 
The  hole,  of  course,  will  be  As\  by  3£  inches,  but 
as  plates  are  sometimes  cut  a  little  irregularly 
at  their  edges,  it  may  as  well  be  a  trifle  larger, 
to  accommodate  any  which  are  not  quite 
accurate.  The  hole  should  be  so  arranged  that 
the  preceding  piece  allows  an  equal  margin  all 
round  it ;  the  front  of  the  plate  will  then  rest 
against  this  margin. 

The  fifth  piece  is  very  similar  to  the  second, 


476 


AN  IMPROVED  PIPE    CLEANER. 


and  is  prepared  in  exactly  the  same  way,  to  act 
as  a  shutter  behind  the  plate  which  is  inserted 
when  it  is  drawn  up.  Its  preparation,  therefore, 
requires  no  explanation ;  but  it  may  be  well  to 
say  that  it  should  be  as  wide  as  the  fourth  piece, 
and  that  the  projection  at  the  top  should  not  be 
forgotten. 

The  sixth  and  last  piece  is  a  counterpart  of 
the  first,  except  that  it  is  larger,  has  a  hole  large 
enough  to  admit  the  plate,  and  may  be  of  any 
convenient  thickness. 

If  it  has  not  been  already  done,  a  stop  formed 
of  a  piece  of  cardboard  must  be  glued  on  the 
front  of  the  front  shutter.  Presuming  that  this 
when  closed  is  for  \  inch  at  the  bottom  within 
the  groove,  and  that  the  stop  is  \  inch  wide,  the 
\  inch  extra  space  at  the  top  of  the  front  open- 
ing is  taken  up,  so  that  the  holes  measure  4  by 
3  inches,  as  originally  stated. 

To  make  all  clear,  Fig.  2  shows  in  section  a 
side  of  the  slide,  so  that  anyone  studying  it  in 
connection  with  the  foregoing  description  should 
have  no  difficulty  in  understanding  what  is 
intended. 

The  ends  of  the  pieces  from  which  the  shutters 
are  formed,  may  be  cut  off  level  with  the  top  of 
the  slide,  leaving  only  the  ends  of  the  shutters 
projecting ;  these  projections  form  convenient 
handles,  and  may  be  rendered  more  so  by  cut- 
ting them  from  alternate  sides,  as  shown  in 
Fig.  3.  As  they  are  apt  to  wear  ragged  and  get 
torn,  they  may  be  rendered  more  durable  by 
glueing  over  them  a  piece  of  calico,  or  similar 
substance.  The  whole  slide  may  be  improved, 
both  in  appearance  and  wear-resisting  qualities, 
by  varnishing  it  outside.  The  insides  of  the 
shutters  and  margin,  on  which  the  plate  rests, 
should  be  blackened,  but  not  varnished  ;  Indian 
ink  does  very  well,  and  so  does  the  ordinary 
writing  ink.  In  concluding  these  directions,  I 
venture  to  think  that  anyone  making  slides 
according  to  them  will  not  be  disappointed. 


Coek  Chips  are  mentioned  as  the  best  sub- 
stance for  covering  steam  pipes.  Used  with  any 
glutinous  material,  it  will  adhere  and  form  an 
excellent  non-conductor,  if  laid  on  a  thickness  of 
about  1  inch,  where  very  large  surfaces  have 
to  be  covered. — Practical  Engineer. 


AN    IMPROVED    PIPE    CLEANER. 

By  H.  J.  W. 


PIPE  CLEANER  is  one  of  those 
necessities  which  a  smoker  requires 
U  wherewith  to  cleanse  his  pipe  when 
filled  with  nicotine  ;  and  he  is  a  foolish  man 
who  refrains  from  keeping  his  pipe  in  proper 
condition  when  the  means  of  doing  it  are  so 
exceedingly  simple. 

The  cleaner  I  propose  to  describe  is  easily 
constructed,  and  can  be  made  by  a  slightly 
skilled  mechanic  ;  and  as  I  well  know  from  ex- 
perience how  pleasant  an  adjunct  a  pipe  is  while 
the  amateur  is  following  his  mechanical  vocation 
in  the  workshop,  I  thought  a  short  description, 
showing  how  I  made  my  pipe  cleaner,  might 
prove  acceptable  to  my  smoking  friends.  I 
made  one  some  two  and  a-half  years  ago,  and  a 
description  of  same  appeared  in  "Amateurs  in 
Council  "  ;  but  it  had  several  drawbacks,  so  I 
made  one  like  Fig.  1,  which  has  been  in  practical 
use  ever  since.  I  can,  therefore,  speak  feelingly 
as  to  its  qualities. 

The  body  is  made  of  stout  tin,  known  in  the 
trade  as  "two  cross  tin"  (xx),  cut  to  size 
required,  bottom  part  being  perforated,  as  shown 
in  side  elevation,  Fig.  2,  for  ventilating  lamp ; 
having  done  this,  wire  bottom  edge  with  No.  4 
(B.  W.  G.)  wire,  bend  it  until  it  resembles  a 
cylindrical  shape,  and  make  a  soldered  or  lap 
seam. 

You  next  secure  your  water  partition  in  body 
(represented  in  Fig.  1  by  dotted  lines,  b,  also 
shown  in  Fig.  2),  cut  \  of  an  inch  larger  than 
diameter  of  body,  and  turn  edge  down  all 
round,  soldering  same  inside ;  i.e.,  the  water 
side,  as  shown  in  sectional  elevation  (see  Fig.  2). 
Next  block  your  top,  and  cut  out  hole  for 
cylindrical  tapered  tube,  fit  same  in,  turning 
edge  down,  and  solder  inside  before  clapping 
your  top  on  body  (see  Fig.  2).  Now  clap  on 
body,  and  next  proceed  with  your  ears  and 
handle  (these  are  shown  in  Figs.  4  and  5) ;  the 
material  used  can  either  be  No.  4  (B.  W.  G) 
tinned  iron  wire,  or  brass  wire,  as  preferred. 
The  ears  should  be  filed  or  hammered  flat,  so 
that  they  will  set  or  rest  evenly  on  edge  of  can ; 


A   LAVATORY  CUPBOARD. 


477 


solder  on  same,  and  hang  the  handle,  and  your 
pipe  cleaner  is  complete,  with  the  exception  of 
the  lamp. 


F  i  C.I 


FIC2. 


FIG.  I.— SIDE  ELEVATION.  FIG.  2.— SECTIONAL  ELEVATION  ; 
A,  RIVET  ;  B,  WATER  PARTITION  ;  C,  CLAPPED  ON 
JOINT  ;  D,  PANNED  JOINT.  FIG.  3. — MODE  IN  WHICH 
PIPE  IS  CLEANED.  FIG.  4. — WIRE  HANDLE.  FIG.  5. — 
EARS. 

The  lamp  is  made  as  follows :  Turn  a 
cylindrical  tapered  body,  and  make  it  fit  tele- 
scopically  in  bottom  edge  of  lamp,  it  having  a 


soldered  seam,  turn  bottom  edge  of  same  down, 
and  pan  a  bottom  to  it  (see  d,  Figs.  1  and  2). 
Next  clap  on  blocked  top,  having  inserted  a 
wick  screw  in  centre  of  same  ;  lastly,  solder  rivet 
A  on  edge,  to  keep  lamp  in  position,  and  it  is 
ready  for  action. 

Modus  operandi. — Fill  three  parts  full  of  water, 
light  lamp,  and  as  soon  as  steam  generates  put 
bowl  of  pipe  on  cylindrical  tapered  tube  tele- 
seopically  (see  Fig.  3)  ;  let  pipe  remain  on  same 
until  the  water  dropping  from  stem  of  pipe 
begins  to  drop  almost  clear,  and  by  this  time 
your  pipe  "is  as  sweet  as  a  nut." 

Should  my  description  be  insufficiently  clear 
for  some  amateurs,  call  upon  me  through  the 
medium  of  "Amateurs  in  Council." 


A   LAVATORY    CUPBOARD. 

BEING  THE,  NINTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD  UTILITY. 

By  ED.   C.  ROE,  Jun.,  Silver  Medallist  of  the  City  and, 
Guilds  of  London  Institute. 

gga  FANCY  I  hear  the  reader  remark — 
"What  a  peculiar  subject!"  And 
truly  it  is  so  ;  but  it  is  some  of  these 
out-of-the-way  things,  judiciously  placed,  that 
make  a  home  more  comfortable.  The  use  of 
this  cupboard  will  be  apparent,  and  the  con- 
venience afforded  thereby  is  also  to  be  noticed, 
but  I  will  just  venture  a  few  sentences  by  way 
of  introduction. 

The  day  is  coming  when  water-closet  fittings, 
as  we  know  them  at  present  —  of  the  old- 
fashioned  kind — will  be  obsolete,  and  their 
places  occupied  by  others  more  cleanly  in  every 
respect.  A  method  to  be  considered  an  improve- 
ment is  much  in  vogue  in  the  better  class  of 
house,  which  is  making  the  w.c.  seat  to  open  upon 
hinges  so  as  to  fall  back  against  the  lid  or  flap, 
and  thus  bring  to  view  a  "  table-top,"  as  it  is 
named.  This  is  fixed  over  the  closet  apparatus, 
to  prevent  slops  splashing  inside  the  enclosure, 
as  would  probably  be  the  case  were  the  seat  to 
be  merely  hinged,  and  the  apparatus  left  exposed. 
The  top  consists  of  white  glazed  earthenware, 


478 


A   LAVATORY  CUPBOARD. 


dished  so  that  any  fluid  spilt  upon  it  may  run 
into  the  pan  of  the  apparatus.  The  advantages 
to  be  derived  from  this  system1  are  undeniable  ; 
but  there  is  another  system  daily  becoming  more 
popular — the  pedestal  closet — where  there  is  no 
front  or  riser,  but  simply  a  small  seat  hinged, 
which,  when  thrown  back,  leaves  the  closet  pan 
available  for  use  as  a  slop-sink,  or  for  other 
purposes.  It  is  almost  useless  to  discuss  such 
improvements,  at  any  rate,  from  one  point  of 
view,  for  the  majority  of  houses  are  fitted  with 
the  old  style  seat  and  riser,  and  so  will  have  to 
remain.  Under  such  circumstances,  it  is  well 
to  provide  for  cleanliness,  and  one  marked  step 
towards  that  goal  is  to  provide  the  closet  with  a 
cupboard. 

Still,  there  is  another  point  to  be  considered 
— tidiness.  How  very  bad  it  looks  to  see  paper 
strewn  about  the  floor,  etc.  !  The  system  of  pro- 
viding toilet  paper  in  rolls  is  good,  and  it  is  also 
cheap,  so  I  have  made  arrangement  in  my  cup- 
board for  the  use  of  roll  paper,  making  that  a 
feature  in  the  general  design. 

The  design  has  been  prepared  that  the  cup- 
board may  be  fixed  in  an  angle,  as  being  the 
most  usual  and,  at  the  same  time,  the  most  con- 
venient place  to  fix  it. 

Now,  what  shall  it  be  made  of  ?  Enamelled 
deal  is  capital ;  white  or  ivory  colour  looks  so 
clean  ;  that  is,  of  course,  providing  it  is  kept  so. 
In  such  a  case,  a  small  mat  should  be  placed  on 
the  top  to  receive  any  lamp  or  candlestick  that 
may  be  placed  thereon  ;  but  if  painted  work  is 
not  cared  for,  then  walnut  or  mahogany  is  good 
material. 

Do  not  omit  to  set  out  your  job  full  size,  and 
then  we  may  begin  the  practical  part. 

The  general  rule  with  such  small  corner 
fittings  is  to  introduce  a  circular  front,  as  being 
more  economical,  as  regards  space,  and  altogether 
better  adapted  to  the  purpose ;  but  circular  work 
means  a  tremendous  lot  of  careful  experienced 
work,  far  more  than  could  fairly  be  placed  before 
an  average  amateur ;  so  that  if  my  endeavour  to 
reduce  the  amount  of  work,  by  introducing 
straight  work,  minimises  in  any  way  the  useful- 
ness or  the  general  effect,  pray  let  the  fact  bear 
weight  in  the  argument  for  or  against. 

Fig.  2  represents  the  front  elevation.     It  will 


be  readily  understood  that  few  true  dimensions 
can  be  obtained  from  it ;  as  a  matter  of  fact,  only 
those  of  the  door  and  the  under  bracket.  For 
the  remainder  we  must  look  to  Figs.  1,  3,  and  4 
— plan,  elevation  of  side,  and  elevation  of  under 
bracket,  respectively.  The  right-hand  half  of 
the  plan,  Fig.  1,  shows  as  though  the  cupboard 
was  cut  through  about  the  middle  of  the  door. 
The  left-hand  side  is  a  plan,  as  though  you  were 
directly  underneath  the  cupboard  as  it  is  fixed. 
The  scale  to  which  the  diagrams  are  drawn  is 
2  inches  to  a  foot,  or  one-sixth  full  size. 

The  sides  should  be  the  first  to  be  prepared  ; 
two  pieces,  18  inches  long  and  12  inches  wide, 
will  be  required,  §  inch  finished  in  thickness. 
One  of  the  pieces  will  finish  a  little  narrower, 
as  the  tongue  in  the  back  edge,  of  course, 
does  not  run  through  Fig.  5.  The  sides  are 
united  at  the  back  by  a  tongue  and  groove, 
Fig.  5.  Now,  the  housings  for  the  shelves,  or,  more 
strictly  speaking,  bottom  and  top,  must  next  be 
cut  in.  I  think  my  meaning,  when  speaking  of 
housings,  will  by  this  time  have  been  rendered 
clear,  as  the  procedure  has  been  dealt  with 
several  times  in  the  former  papers  of  the  series. 
Of  course,  it  is  not  absolutely  necessary  that  the 
shelves  should  be  housed  into  the  sides,  but  it 
certainly  is  a  much  more  satisfactory  job,  and 
more  workmanlike. 

The  two  shelves  may  be  cut  out  as  plan  at 
Fig.  1.  Full  size  curves  cannot  be  given,  but 
the  radii  which  cut  the  points  can  be,  and  are 
as  follows  : — Taking  as  the  centre  the  extreme 
point  where  the  two  sides  meet,  as  at  Fig.  1, 
a  radius  of  12  inches  will  cut  point  d,  the  same 
of  12 \  inches  at  o,  and  11^  inches  at  b  ;  from 
b  to  o  is  4|  inches.  With  these  dimensions  the 
setting  out  should  be  comparatively  easy.  The 
curves  must  be  sketched  in  by  hand,  or  struck 
by  means  of  a  long  rod,  pencil,  and  bradawl. 

It  is  not  until  these  lines  are  obtained  that  the 
front,  consisting  of  the  two  fixed  side  pieces  and 
the  door,  can  be  set  out.  The  door  should  be 
8f  inches  wide  on  the  front  edge,  and  1\  inches 
high.  The  side  pieces  will  work  out  about  4$ 
inches  wide,  and  will  be  housed  into  the  shelves  ; 
indeed,  they  must  be  fixed  before  the  sides  are 
permanently  attached  to  the  shelves.  It  is  a 
job  requiring  great  care  to  get  all  to  go  together 


A  LAVATORY  CUPBOARD. 


479 


1 


FIC.3 


nicely,  and  the  advantages  of  accurate  setting 
out  are  reaped  on  such  occasions  as  these. 

Now  let  us  turn  to  the  brackets  underneath. 
The  best  and  most  expeditious  manner  to  fix 
these  is  to  let  the  two  brackets,  Fig.  4,  fit  into 
housings  provided  in  the  under  side  of  the  bottom, 
and  then  let  the  back  piece  tongue  into    the 


brackets,  as  shown  full  size  by  Fig.  8.  A  small 
screw  or  two,  as  indicated,  will  strengthen  the 
whole.  The  elevation  of  the  back  piece  will 
be  seen  in  Fig.  2  ;  the  elevation  of  the  brackets, 
Fig.  4. 

The  door  is  of  stuff  1}  X  f  inches,  finished 
sizes ;  full  size  section,  showing  panel  and  bevel 


480 


ELECTRIC  LIGHTING   FOR   AMATEURS. 


of  door  with  side,  at  Fig.  6.  What  to  use  for 
the  panel  is  an  open  question.  Some  people  like 
a  piece  of  clear  glass,  as  tending  to  intimate  to 
probable  users  the  contents  of  the  cupboard. 
Possibly  some  'will  adopt  the  means  of  decora- 
tion suggested  by  Mr.  Bennett  in  his  useful 
papers,  and  work  in  a  photograph.  Of  course, 
it  would  be  advisable,  under  such  treatment,  to 
make  the  door  rebated,  and  fix  the  glass,  photo, 
and  back  in  with  a  bead  mitred  round. 

We  have  worked  gradually  upward,  and  now 
we  come  to  the  capping  (see  Fig.  7,  for  section). 
This  moulding  will  be  returned  upon  itself  at 
each  end,  and,  of  course,  mitred  in  the  centre. 
The  best  way  is  to  take  a  piece  of  moulding 
about  1  foot  long,  and  return  the  ends  carefully, 
afterwards  cutting  into  two  portions,and  mitreing 
together  to  proper  dimension,  4  inches  each  way. 
When  glued  up  and  dry,  it  can  be  dowelled  on 
as  a  whole. 

The  last  constructional  operation  is  to  fit  and 
hang  the  door  with  a  pair  of  If  brass  pressed 
butts,  providing  a  cupboard  turn,  or  simply  a 
knob,  as  preferred. 

As  to  fixing,  the  neatest  way  is  to  plug  the 
walls,  and  fasten  up  with  a  couple  of  screws 
from  the  inside  of  the  cupboard  ;  or  a  couple  of 
brass-headed  nails,  allowed  to  pass  through  holes 
bored  in  the  side,  would  do.  By  the  way,  it  would 
be  well  to  bore  a  few  holes  in  the  sides  at  the 
top  of  the  cupboard  proper,  in  order  that  a  little 
ventilation  might  be  afforded  to  keep  the  in- 
terior sweet.  A  small  zinc  tray  must  be  provided 
to  catch  any  moisture ;  a  circular  tray,  with  a 
rim  about  f  inch  deep,  answers  admirably. 

Now  to  fix  the  roll  of  toilet  paper.  This  may 
be  obtained  at  the  stationer's,  and  a  stout  wire 
frame  is  also  supplied  to  suspend  it  by.  Some- 
times cast-iron  backs  are  also  supplied,  and 
these  might  be  utilised  by  screwing  on  the 
back. 

I  fancy  but  few  readers  will  condemn  this 
cupboard  as  unnecessary  ;  convenient  fittings  in 
a  household  are  already  so  few,  that  I  feel  sure 
such  an  one  as  this  will  be  a  very  welcome 
addition,  and  will  be  appreciated. 

I  think  that  I  have  said  all  that  is  necessary ; 
but  if  anything  has  been  unwittingly  omitted,  let 
me  plead,  Humanum  est  errare. 


ELECTRIC   LIGHTING  FOR 
AMATEURS. 

By  GREGORIE  EDOUIN  BEY. 

IV. — Electric  Lighting  by  Batteries — A  Four-Celled 
Single  Fluid  Chromic  Acid  Battery— A  Double 
Fluid  Chromic  Acid  Battery— Batteries  for 
Night  Lights. 

ILTHOUGH  in  my  first  paper  I  dis- 
suaded amateurs  from  attempting 
electric  lighting  on  a  large  scale  by 
means  of  current  obtained  from  primary  bat- 
teries, on  account  of  the  cost  and  intolerable 
mess  attending  the  use  of  these  generators  of 
electricity  when  used  for  such  purposes,  it  is 
only  fair  to  state  that  there  are  exceptions  to 
this  general  rule.  Electric  lighting  by  means 
of  batteries  may  be  attempted  when  only  a 
small  light  of  from  1  to  5  candle  power  will  meet 
the  requirements  of  the  case.  Among  these  may 
be  mentioned  the  following: — An  occasional  light 
for  a  closet  or  small  cupboard,  where  it  is  only 
desired  to  locate  the  position  of  surrounding 
objects ;  a  light  enclosed  in  ruby  glass  for  a 
photographic  dark  room ;  an  occasional  light  in 
a  bedroom,  as  when  the  occupant  of  a  bed  wishes 
to  see  the  time  by  his  watch  in  the  night.  For 
all  such  purposes  as  these,  the  electric  light  is 
superior  to  any  other,  because  there  is  no  danger 
of  fire  from  having  it  near  clothing,  books,  or 
papers  in  a  confined  space  ;  it  does  not  taint  the 
air  with  objectionable  fumes,  and  it  does  away 
with  the  necessity  of  striking  matches  to  obtain 
a  light.  Such  small  electric  lights  may  be  main- 
tained with  current  from  a  primary  battery. 

We  have  now  to  consider  the  many  claims  to 
a  suitable  battery  for  the  purpose ;  and  here  I 
would  just  venture  on  a  note  of  warning  to  my 
readers.  Do  not  place  implicit  reliance  on  the 
claims  put  forward  by  interested  inventors  and 
vendors  of  new  batteries,  as  published  in  the 
newspapers  and  on  printed  circulars  ;  all  such 
batteries  are  as  much  lauded  at  the  outset  as 
those  quack  medicines  which  are  said  to  cure 
all  the  ills  afflicting  poor  humanity.  All  new 
batteries  are  claimed  by  their  inventors  to  be 
inexpensive.  If  one  could  believe  what  is  said 
about  them,  it  should  cost  next  to  nothing  to 
obtain  a  horse-power  of  current  generated  in 
one  of  the  new  primary  batteries.     The  puffs 


ELECTRIC  LIGHTING   FOR  AMATEURS. 


481 


most  studiously  keep  out  of  sight  the  cost  of 
the  zinc  used  up  in  the  battery  cells  ;  and  this 
must  always  he  a  serious  item  of  expense,  since 
at  the  best  it  takes  18^  grains  of  zinc  per  cell  in 
any  battery  to  generate  1  ampere  of  current  per 
hour ;  to  this  must  be  added  the  cost  of  the 
oxidising  solution,  ■which  must  be  frequently  re- 
newed, and  the  cost  of  the  depolarising  solution. 
The  batteries  most  in  favour  for  electric  light- 
ing at  the  present  day,  are  those  in  which 
bichromate  of  potash  solution,  or  a  solution  of 
chromic  acid,  is  used  as  the  depolariser,  with 


FIG.  6.— SECTION  OF  A  FOUR-CELL  SINGLE  FLUID  CHROMIC 
ACID  BATTERY,  WITH  LIFTING  ARRANGEMENT  FOR 
ELECTRIC  LIGHTING. 

carbon  as  the  negative  element.  Bichromate 
of  potash  is  an  inferior  depolariser  to  chromic 
acid,  and  it  also  has  the  demerit  of  giving  forth 
a  somewhat  sickly  odour  whilst  fresh,  and 
depositing  almost  insoluble  crystals  in  the  cells 
when  it  gets  stale,  or  nearly  worked  out.  It  can 
be  obtained  at  less  cost  than  chromic  acid,  and 
may  be  used  for  short  experiments  with  success. 
Bichromate  of  potash  and  chromic  acid  batteries 
are  divided  into  two  separate  classes  :  those  with 
single  fluid  cells,  and  those  with  double  fluid 
cells.  Among  the  first  may  be  mentioned  the 
familiar  bottle  bichromate  cell,  which  may  be 
made  to  do  good  service  if  four  or  more  of  them 
are  connected  in  series.  All  single  fluid  bichro- 
mate or  chromic  acid  cells  must  be  provided  with 
an  arrangement  for  throwing  the  elements  out 
of  the  solution  when  the  battery  is  not  in  use, 
because  the  solution  dissolves  the  zinc,  and 
wastes  it  (even  when  well  amalgamated  with 
mercury)  when  the  circuit  is  not  closed.  One  of 
two  methods  may  be  adopted  for  this  purpose  : 
either  the  charged  cells  may  be  lifted  up  to  the 


elements  on  a  platform,  or  a  platform  holding 
the  elements  may  be  lowered  into  the  cells  ;  I 
prefer  the  latter,  as  being  most  convenient.  A 
set  of  four  cells,  holding  one  quart  of  solution  in 
each  cell,  fitted  up  in  this  way,  will  light  up  a 
6-volt  5-c.p.  lamp,  and  will  form  a  useful 
adjunct  to  a  photographer's  dark  room.  The 
cells  should  fit  in  a  shallow  tray,  furnished  with 
a  standard  at  each  end,  made  to  fit  a  groove  in 
the  ends  of  the  platform  supporting  the  zinc  and 
carbon  plates.  The  plates,  cut  to  fit  the  cells 
loosely,  must  be  fixed  in  slots  cut  in  the  plat- 
form, and  each  plate  should  be  furnished  with  a 
terminal  binding  screw.  The  zinc  plates  for 
each  cell  should  be  enclosed  be- 
tween two  carbon  plates  (at  a 
distance  of  \  inch  from  each 
plate),  to  furnish  a  large  negative 
surface,  and  utilise  the  full  sur- 
face of  the  zinc.  The  total  weight 
of  platform  and  plates  must  then 
be  counterpoised  by  weights  con- 
nected to  lines  passing  over 
pulleys,  in  the  ends  of  the 
standards.  The  plates  are  con- 
nected in  series;  that  is  to  say,  the 
zinc  plate  of  one  cell  must  be  connected  to  the 
two  carbon  plates  of  the  next  cell,  and  so  on.  A 
flexible  metallic  cord  will  connect  the  two  ends 
of  the  battery  with  the  lamp,  which  may  be 
lighted  at  a  moment's  notice  by  pressing  the 
platform  down,  and  thus  immerse  the  plates  in 
the  solution,  or  extinguished  in  the  same  time 
by  raising  the  elements  out  of  the  solution  by 
the  finger  and  thumb.  (A  sectional  sketch  of  a 
4-cell  battery  is  given  at  Fig.  6). 

The  solution  for  this  battery  may  be  made  up 
of  either  bichromate  of  potash  or  chromic  acid, 
3  ozs.,  sulphuric  acid  3  ozs.,  in  each  pint  of 
water.  This  will  run  a  6-volt  5-c.p.  lamp  for 
three  hours  ;  and  this  time  may  be  taken  out  of 
it  in  small  quantities,  extending  over  several 
days,  if  so  desired.  The  zinc  plates  must  be 
well  amalgamated  with  mercury  before  starting 
the  battery,  and  should  be  frequently  cleaned 
and  freshly  coated  with  mercury  to  prevent  local 
action  and  consequent  loss  of  power.  If  chromic 
acid  is  to  be  used  in  the  battery,  the  cells  should 
be  of  glass ;  these  will  cost  about  Is.  6d.  each; 


FIG.  7. — SECTION 
OF  DOUBLE 
FLUID  CHROMIC 
ACID  CELL. 


482 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


but  any  open  mouthed  glass  jars  may  be  used 
as  substitutes. 

Single  fluid  cells  have  an  advantage  over 
double  fluid  cells  when  used  for  generating 
large  volumes  of  current,  in  that  their  internal 
resistance  is  less,  and  consequently  there  is  less 
power  taken  up  in  overcoming  the  internal 
resistance  of  the  battery.  The  result  is  seen  in 
more  available  power  for  use  in  the  outer  circuit. 
But  single  fluid  cells  are  not  nearly  so  constant 
as  double  fluid  cells,  because  the  zinc  is  attacked 
by  tho  depolarising  solution  when  the  battery 
is  not  at  work,  and  local  action  is  set  up  in  the 
cell  itself. 

Among  double  fluid  cells  suitable  for  occa- 
sional electric  lighting,  we  may  place  in  the 
front  rank  "  Dale's  Granule  Battery,"  brought 
out  some  years  ago  by  Mr.  Henry  J.  Dale,  then 
doing  business  in  Little  Britain,  but  now  re- 
moved from  those  premises.  As  originally 
brought  out,  this  cell  was  made  up  of  a  round 
porous  cell,  containing  a  bolt  of  zinc  immersed 
in  a  solution  of  zinc  chloride ;  this  was  placed 
in  an  outer  jar  of  stoneware,  and  packed  in 
tightly  with  grains  of  broken  carbon  around  the 
porous  cell,  and  around  a  carbon  plate,  to  form 
the  negative  element.  The  outer  jar  was  charged 
with  a  solution  of  bichromate  of  potash,  made 
acid  with  muriatic  instead  of  sulphuric  acid. 
The  granules  of  carbon  greatly  increased  the 
negative  element  of  the  battery,  and  reduced  its 
internal  resistance.  The  battery  was  afterwards 
improved  by  using  a  cylinder  of  rolled  zinc  in 
the  porous  cell,  instead  of  a  zinc  bolt,  and  thus 
the  positive  surface  was  also  increased.  When 
this  battery  was  first  set  up,  it  gave  great  satis- 
faction ;  there  was  little  or  no  local  action  on  the 
zinc,  and,  as  a  consequence,  the  cells  might  be 
set  up  for  any  length  of  time  before  being  used, 
much  the  same  as  a  Leclanche  battery  is  set  up, 
and  current  could  be  taken  from  it  at  any  time. 
The  trouble  came  afterwards,  when  the  battery 
had  been  in  occasional  use  for  several  weeks. 
The  current  failed,  as  the  current  from  all 
primary  batteries  will  fail  at  some  time,  and  it 
then  became  necessary  to  clean  out  the  old 
solution,  to  re-charge  the  battery.  It  was  then 
found  that  the  bichromate  of  potash  solution 
had,    during    the    process    of     decomposition, 


deposited  a  mass  of  large  ruby  red  crystals  at 
the  bottom  of  the  cell ;  and  these  crystals  were 
with  difficulty  removed,  whilst  their  presence 
greatly  increased  the  internal  resistance  of  the 
cell.  Masses  of  green  crystals  had  also  formed 
in  the  porous  cell.  I  have  found  these  best 
removable  in  warm  water,  made  acid  by  adding 
a  little  muriatic  acid.  The  terminals  and  con- 
nections also  gave  much  trouble,  because  of  the 
corrosive  action  of  chlorine  fumes  rising  from 
the  battery  solution. 

Much  of  the  trouble  then  experienced  in  using 
the  granule  battery  may  now  be  avoided  if  we 
use  chromic  acid  in  the  place  of  bichromate  of 
potash,  because  chromic  acid  does  not  so  readily 
deposit  crystals  among  the  grains  of  carbon.  I 
therefore  recommend  those  about  to  try  this 
battery,  a  similar  solution  to  that  used  in  the 
single  fluid  battery  previously  described.  The 
chloride  of  zinc  solution  for  the  porous  cell  may 
be  made  up  by  the  amateur  himself,  by  dissolv- 
ing scrap  zinc  in  muriatic  acid  until  the  acid 
will  not  dissolve  any  more  zinc  ;  dilute  this  with 
one-third  its  bulk  of  rain  water  for  use  in  the 
cell.  As  chromic  acid,  when  bought  of  the 
ordinary  dealers  in  chemicals,  is  a  very  costly 
salt,  ranging  in  price  from  2s.  up  to  3s.  6d.  per 
pound,  I  have  pleasure  in  announcing  where  it 
can  be  obtained  at  a  much  cheaper  rate.  From 
a  price  list  issued  by  Mr.  S.  E.  Bottone,  Elec- 
trician, Carshalton,  Surrey,  I  cull  the  following : 
"Chromic  acid,  1  lb.  tin,  Is. ;  2  to  27  lbs.,  lid. 
per  lb.;  28  to  55  lbs.,  lOd.  per  lb.;  56  to  112 
lbs.,  9d.  per  lb." 

A  useful  battery  for  electric  lighting  pur- 
poses may  be  made  up  in  the  following  manner  : 
Get  four  large  glass  or  stoneware  cells,  holding, 
say,  \  gallon  of  liquid  in  each  cell ;  also  get  four 
white  porous  cells  to  match  the  outer  cells ;  that 
is  to  say,  if  the  outer  cells  are  round,  get  round 
porous  cells,  but  if  these  are  oblong,  get  oblong 
porous  cells,  and  in  all  cases  let  the  tops  of  the 
porous  cells  stand  up  above  the  rims  of  the  outer 
cells  at  least  g-  inch.  Get  zinc  cylinders  to 
fit  the  porous  cells  if  these  are  round,  or  zinc 
plates  if  these  are  oblong,  and  coat  them  with 
mercury.  Cut  a  piece  of  sheet  lead  to  fit  the 
top  of  the  outer  cell  like  a  cover,  with  a  hole  in 
the  centre  for  the  porous  cell.     In  this  cover  cut 


DESIGN  FOR  AN   OVER-MANTEL   IN  CARVED    WOOD. 


483 


slits  to  fit  two  or  more  carbon  plates,  to  be  used 
as  the  negative  element  of  the  battery.  The 
carbons  should  be  capped  with  lead,  and  fur- 
nished with  terminal  binding  screws.  (A  sec- 
tional sketch,  showing  arrangement  of  plates  in 
a  cell  of  this  battery,  is  given  at  Fig.  7).  When 
the  battery  is  charged,  connect  all  the  carbon 
plates  together,  and  thus  get  a  large  negative 
surface.  The  charge  for  this  battery  should  be, 
in  the  porous  cells,  sulphuric  acid  1  part,  water 
10  parts,  by  measure  ;  in  the  outer  cells,  chromic 
acid  1  lb.,  chlorate  of  potash  2  ozs.,  sulphuric 
acid  7  ozs.,  water  1  quart.  This  solution,  in  the 
battery  above  described,  will  light  up  a  6-volt 
5-c.p.  lamp  fairly  well  for  a  period  of  from 
twelve  to  fifteen  hours,  after  which  time  it  will 
be  necessary  to  renew  the  solution.  The  cost 
will  be  about  Is.  per  quart  of  depolarising 
solution  if  the  chromic  acid  is  bought  at  the 
cheap  rate  before  mentioned. 

Just  a  word  or  two  of  caution  in  the  use  of 
chromic  acid.  Its  action  is  powerfully  corrosive, 
and  it  will  dissolve  out  the  soft  parts  of  common 
stoneware,  as  well  as  creep  up  and  corrode  the 
heads  and  connections  of  the  carbons  ;  therefore 
I  recommend  the  use  of  glass  cells,  on  which  it 
does  not  appear  to  have  any  action,  and  I  recom- 
mend frequent  examination  and  cleaning  of  the 
connections.  This  task  is  a  comparatively  easy 
one  in  the  battery  just  described,  as  it  may  be 
readily  taken  to  pieces,  and  as  easily  put  to- 
gether again.  Paraffin  wax  is  no  protection  to 
cells  or  fittings  exposed  to  the  action  of  this  acid. 

The  use  of  a  small  electric  lamp  as  an  occa- 
sional night  light,  to  see  the  time  by  a  watch, 
has  been  mentioned.  For  this  purpose  the  lamp 
is  suspended  by  a  hook  under  an  opaque  shade 
over  the  watch-stand,  and  is  connected  to  a 
flexible  cord,  fitted  with  an  ordinary  push  or 
pressel,  which  may  be  hung  by  the  side  of  the 
bed,  or  placed  under  the  pillow.  Current  for 
those  tiny  lamps  is  obtained  from  the  batteries 
previously  described ;  from  a  battery  of  Fuller 
cells  with  extra  large  zincs,  or  from  several  large 
Leclanche  cells,  furnished  with  zinc  cylinders 
instead  of  zinc  rods.  When  these  types  of 
batteries  are  to  be  used  for  this  purpose,  we 
must  employ  large  cells  and  large  elements  in 
them,  to  reduce  the  internal  resistance  of  the 


cells.  Even  then,  the  low  E.  M.  F.  of  each  cell, 
as  compared  with  that  of  the  chromic  acid  cells, 
necessitates  the  use  of,  at  least,  two  cells  of  the 
former  in  place  of  one  of  the  latter,  when  using 
the  same  class  of  lamp. 


DESIGN   FOR  AN  OVER-MANTEL 
IN   CARVED   WOOD. 

By  ROBERT  COXON. 


(For Illustrations  see  Folding  Sheet  presented  with  this  Part.) 

i^HIS  design,  when  carried  out,  will  be 
found  to  form  a  very  artistic  piece  of 
work,   either    in   oak    or  walnut ;   it 


could  be  easily  made,  and  at  a  moderate  cost, 
either  by  one  of  the  trade  or  by  an  amateur 
conversant  with  wood-working  tools. 

Many  might  prefer  the  design  without  the 
plinth,  in  which  case  a  simple  surbase  could  be 
substituted,  and  also  would  be  found  very 
effective  ;  but  to  those  who  are  skilled  in  wood- 
carving,  the  detail  of  the  carved  panels  given, 
as  well  as  the  medallion  enclosing  the  figure  of 
a  jester  in  the  pediment,  together  with  other 
details,  would  form  good  practice  and  a  fair  test 
of  their  skill ;  otherwise,  the  scroll-worked 
medallion  in  pediment  could  be  dispensed  with, 
and  the  cornice  carried  through  in  a  less 
elaborate  fashion.  The  details  of  cornice 
mouldings,  caps,  etc. ,  it  would  be  well  to  copy, 
at  least,  with  but  slight  alteration,  to  harmonise 
with  the  mantel  on  which  it  is  proposed  to  be 
placed.  The  pilasters  should  be  1  \  inch  square, 
but  perhaps  they  might  be  improved  by  using 
\\  inch ;  framing  to  panels  of  plinth,  \\*\ 
inch.  As  before  stated,  much  of  the  effect 
would  be  contained  in  the  pedimental  work.  The 
centre  medallion  of  the  jester,  carved  boldly  in 
one  piece  9  inches  diameter,  the  carved  scroll- 
work to  it  being  12  x  21  inches,  could  be 
worked  in  two  pieces,  and  carefully  joined  at 
the  head  and  foot;  but,  if  possible,  the  work 
would  be  more  perfect  in  one.  The  whole  of 
this  feature  must  be  affixed  at  the  scroll  apex  to 
the  pediment  proper,  and  to  the  frieze ;  this 
would  prove  a  chaste  addition  to  the  work,  pro- 
vided the  worker  does  not  object  to  the  extra 
time  and  labour  it  would  entail. 


484 


PRACTICAL    ORGAN  BUILDING. 


PRACTICAL  ORGAN    BUILDING. 

By  AN  ORGAN  BUILDER. 


VIII. — The  Keyboard. 
]  HOSE  of  our  workers  who  can  arrange 
to  have  the  keys  made  for  them  by  a 
key- maker  in  the  trade,  can  have  them 
done  with  good  celluloid  for  the  naturals  and 
ebony  sharps  for  25s.,  or  if  ivory  is  preferred, 
double  this  amount  would  be  charged.  The 
frames  would  have  to  be  made,  and  the  stuff 
glued  up  at  home.  This  much  is  handed  to  the 
key-maker,  who  puts  in  the  pins,  glues  the  pieces 
on  top  and  bottom,  eases  the  keys,  and,  in  fact, 
makes  them  ready  for  their  insertion  in  any 
organ,  all  for  the  amount  above  mentioned.  It 
is  not  everybody  whose  means  will  permit  them 
to  have  them  made  for  them,  in-  which  case  the 
following  instructions  will  give  the  process 
through  which  they  would  have  to  pass.  If 
possible,  I  would  strongly  recommend  that  the 
key-maker  make  the  keys,  as  they  being  tho- 
roughly conversant  with  the  details  of  work, 
they  do  it  with  that  completeness  and  finish 
which  experience  and  care  can  alone  produce. 

The  first  thing  to  be  done  is  to  make  the 
frame.  Oak  or  mahogany  may  be  used,  but  the 
former  looks  the  better  of  the  two.  Prepare 
two  pieces  2  feet  11  \  inches  long,  3  inches  wide, 
as  thick  as  a  1  inch  board  will  hold  ;  another 
piece  2  feet  9J  inches  long,  1  inch  thick,  3£ 
inches  wide  ;  and  one  2  feet  8J  inches  long,  3i 
inches  wide,  and  J  inch  thick.  These  must  all 
be  planed  up  true,  and  gauged  to  a  thickness. 
The  first  two  are  for  the  sides,  it  r,  Fig.  102, 
and  the  front  end  should  be  moulded  in  some 
way  to  give  a  better  appearance,  as  seen  in  Fig. 
103.  Instead  of  shaping  them  in  this  way,  the 
front  top  end  may  be  rounded,  or  even  the  corner 
cut  off  square,  if  preferred.  The  second  piece 
is  for  the  rail,  s,  Fig.  102,  and  must  be  bevelled 
on  the  top  side,  like  s,  Fig.  103.  This  is  mor- 
tised into  the  sides,  and  wedged  from  the  outside 
at  the  distance  marked  on  Fig.  102.  The  |  inch 
piece  is  for  the  front  rail,  t,  Fig.  102.  A  dove- 
tail is  made  on  each  end,  and  is  let  into  the  sides 
at  |  inch  from  the  front,  with  a  couple  of  screws 
at  each  end  to  hold  it  firm.     Great  care  must  be 


taken  over  the  glueing  up,  so  that  the  frame  is 
strictly  square.  The  length  from  shoulder  to 
shoulder  of  the  rails,  s  and  t,  must  be  exactly 
the  same,  2  feet  6|  inches,  or  it  will  be  impossible 
to  make  a  square  frame. 

Now  glue  up  sufficient  1J  inch  pine  to  finish 
a  slab  2  feet  9£  inches  long  and  2  feet  6|  inches 
wide,  with  the  edges  and  ends  square.  Use  the 
very  best  stuff  for  this  ;  cut  out  all  curly  places, 
and  on  no  account  use  a  knot  or  a  shake.  If 
possible,  let  the  piece  finish  1  inch  thick.  It 
must  be  planed  quite  true  across,  and  from  end 
to  end,  and  then  be  fitted  tight  between  the 
rails,  r  r,  Fig.  102,  with  the  front  end  level  with 
the  front  edge  of  the  rail,  t,  Fig.  102.  If  the 
keys  are  not  to  be  made  by  yourself,  the  parts, 
so  far  connected,  must  be  packed  in  a  case  and 
forwarded  to  a  key-maker,  who  will  return  them 
finished,  as  alluded  to  above.  Should  anyone 
rather  do  the  work  himself,  I  should  advise 
him  to  have  a  good  look  at  a  set  of  keys  (piano- 
forte keys  will  ,do),  so  that  he  may  be  able  to 
follow  the  directions  more  clearly. 

In  a  set  of  keys,  the  compass  from  C  C  to  A, 
there  will,  of  course,  be  34  naturals  and  24 
sharps.  The  top  side  of  the  slab  glued  up  must 
be  set  out  like  Fig.  104.  The  first  thing  is  to 
draw  the  lines  a,  h,  b,  e,  c,  d,  i?,  at  the  following 
distances  from  the  front  end :  f,  If,  1\,  15ff,  17A, 
18fs,  19jk  inches  respectively,  and  on  the  bottom 
side  draw  lines  at  J,  Z\,  lof-f,  19tk  inches.  On 
the  top  side  divide  that  surface  enclosed  by  the 
line  h,  and  the  front  end,  into  34  equal  parts,  and 
from  that  line  to  the  back  end  divide  into  58 
spaces  of  equal  distance,  and  square  them  care- 
fully with  a  fine  pencil. 

The  piece  between  the  front  two  lines  on  the 
bottom  side  has  to  be  cleaned  out  £  inch  deep, 
and  mahogany  or  lime  put  in.  Any  number  of 
pieces  may  be  used ;  about  6  inches  is  a  con- 
venient width  to  lay  at  a  time.  The  veneer  must 
be  a  trifle  too  thick,  to  allow  for  cleaning  off. 
A  similar  piece  will  have  to  be  inlaid  between 
the  two  lines,  15*S  inches  and  19;rV  inches.  The 
mahogany  must  be  so  arranged  that  two  pieces 
will  meet  on  one  of  the  lines  marked  on  the  pine. 
The  distance  between  ef.  Fig.  104,  will  be 
covered  in  the  same  way,  with  this  exception  : 
the  stuff  is  simply  glued  on  the  top,  and  not  let 


PRACTICAL    ORGAN  BUILDING. 


485 


in.  The  top  veneer  is  shown  in  Fig.  103  (e), 
while  p  p  represent  the  pieces  let  in  the  bottom 
side. 

Along  the  front  end  of  the  board  glue  a  piece 
of  thin  ebony  veneer;  glue  the  end  well,  and 
rub  the  ebony  hard,  or  it  will  not  hold 
properly. 

The  board  is  now  fastened  into  the  frame  with 
the  front  end  A  inch  behind  the  ,front  edge  of 
the  rail  t,  Fig.  102.  With  a  bit  just  large 
enough  to  make  a  hole  for  a  piece  of  wire,  No. 
10  gauge,  bore  holes  exactly  in  the  centres  of 


H 


R 


z:ei 


the  keys  marked  on  the  lines  a  b  c  d,  Fig.  104, 
into  the  oak.  Take  care  that  these  holes  are 
bored  in  the  right  places.  Do  not  bore  a  sharp 
key  where  a  natural  key  should  be.  The  line, 
e  and  d,  represents  the  pins  for  the  sharps,  while 
a  and  c  are  those  for  the  naturals.  Take  the 
board  off,  and  with  a  small  chisel,  the  same  size 
as  the  wire,  cut  mortises  through  the  pieces,  e, 
and  the  front,  p,  Fig.  103,  tfe  inch  long.  A  key- 
maker  would  use  a  punch  formed  like  two  small 
chisels  back  to  back.  The  holes  through  the 
piece,  p,  over  the  rail,  s,  Fig.  103,  will  simply 
be  countersunk  a  trifle.  The  holes  in  front 
must  be  enlarged  to  Jfe  inch  through  the  thick- 
ness of  the  pine,  but  the  mahogany  will  simply 
contain  a  mortise  A  inch  long  and  as  wide  as  the 
pin  is  thick.  This  opening  may  be  done  by  using 
bits  a  trifle   larger  and   larger  still  until    the 


requisite  size  is  obtained,  or  a  key-maker's  rout- 
ing tool — a  centre-bit  with  a  large  centre — 
may  be  procured. 

A  piece  of  veneer,  rS  inch  thick,  is  now  let  in, 
to  cover  the  holes  in  the  natural  keys,  as  shown 
in  l,  Fig.  103.  This  piece  should  be  let  in  in  a 
similar  way  to  those  on  the  bottom  sides,  and 
the  grain  must  go  the  same  way  as  the  grain  of 
the  pine.  The  black  notes  will  not  require  this 
piece.  When  the  mortises  are  all  cut,  tooth 
the  front  end  of  the  top  side  for  7  inches  with  a 
fine  plane.  The  mortises  are  enlarged  to  reduce 
friction. 

Now  comes  a  matter  of  great  difficulty  to 
many  an  amateur — the  procuring  ivories  for  the 
naturals,  and  ebony  for  the  sharps .  The  only 
way  I  can  suggest  is  to  go  about  to  sales  where 
old  furniture  is  being  disposed  of,  and  some- 
times one  may  come  across  an  old  square  piano. 
In  itself  it  is  next  to  worthless,  but  it  will  con- 
tain some  good  wood.  Instruments  of  this  class 
are  frequently  knocked  down  at  a  nominal  price. 
If  anyone  is  lucky  enough  to  drop  on  one  of 
these,  the  keys  themselves  are  of  no  use,  but  the 
ivories  will  come  in  for  anything,  their  quality 
in  many  instances  being  better,  and  the  thick- 
ness greater,  than  the  ivory  used  nowadays.  Of 
course,  I  give  measurements  for  the  ivories  here, 
but  if  those  obtained  are  longer  or  shorter,  the 
dimensions  must  be  altered  accordingly. 

The  ivories  must  now  all  be  laid  out,  and  the 
tail-pieces  numbered.  In  all  probability  they 
will  be  too  wide,  in  which  case  the  edges  must 
be  shot  with  a  very  fine  steel-faced  plane.  They 
must  be  so  arranged  that  there  will  be  a  space 
nearly  A  inch  wide  between  each  ivory.  The 
fronts  are  now  glued  on,  taking  care  that  the 
front  ends  of  all  of  them  form  an  accurately 
straight  line.  The  front  end  should  project  rV 
inch  beyond  the  surface  of  the  ebony.  The  tail- 
pieces are  laid  on  in  the  following  manner  : — 
Mark  the  back  end  of  the  ivory,  and  drive  a 
small  nail  a  trifle  nearer  the  front,  so  that  the 
front  end  of  the  tail-piece  and  the  back  end  of 
the  front  ivory  shall  be  forced  together,  thus 
forming  an  almost  imperceptible  joint.  Where 
the  two  meet,  all  glue  should  be  removed,  or  a 
black  joint  will  show.  When  all  are  laid,  a  piece 
of  hard  wood  is  made  hot,  and  laid  the  whole 
vol.  in.  (n.s.) — q  « 


486 


PRACTICAL    ORGAN  BUILDING. 


length,  and  all  are  hand-screwed  together  until 
quite  dry.  The  pieces  of  ivory  must  be  laid  in 
two  glueings. 

The  pins  must  now  be  prepared  ;  they  may 
be  obtained  ready  made  for  a  very  small  sum, 
or  they  may  be  made  out  of  brass  wire,  No.  10 
gauge.  The  bottom  ends  are  pointed,  and  the 
tops  nicely  rounded.  The  front  ones  should  be 
\\  inches  long,  and  the  middle  ones  1|  inches. 

^ z  'eg" 


front  rail.     The  pins  must  be  placed  upright  all 
ways. 

On  the  next  operation  considerable  care  must 
be  bestowed.  The  slab  of  wood  has  to  be 
separated  into  fifty-eight  pieces.  The  lines  are 
first  cut  down  from  the  back,  nearly  as  far  as 
the  back  of  the  front  ivory,  with  a  very  fine 
panel  saw.  The  front  pieces  are  cut  with  a  sash 
saw,  held  perfectly  square.  The  sharps  are  taken 


, 

S3 

1 

- 
1 

I 

1 
-  + 

■-  4- 
1-1 

■1-1 -■ 

■4-1 

•  ft        1-4-  1  ■--  1  - 
ll-IH     l-l  -ft-  1 

-  -1     1-  1- -4     4-  -  t-H 
1  t  -4-14!  -4-41  -  1 

- 

D     a-' 

„J3« 

C      E 

r 

1 

S3 

- 

4  ■■  - 

■+  - 

■  4 

-4- +  -  - 

4-  4- 

t-  —  1  -  1-     1  -  1  •-  +  •  -  4- 

!-■-  4     44-  -#-* *  — 

•- 

t 

4> 

1    + 

+  + 

1  +   H 

>■+■+ 

*•+-  +  ■*    1+1+14 

I++    1    4    114  +  +  -+ 

+ 

FIG.    104. — SCALE  lj  INCHES  =  I    FOOT. 


FIG.  103. — 
SCALE  2^  INCHES 
=  I  FOOT, 


The  holes  should  be  bored  in  the  rails  i  inch 
deep,  and  the  pins  knocked  in  so  that  those  in 
the  front  stand  up  %  inch,  and  the  middle  ones 
lj  inches.  Discs  of  thick  green  baize,  §  inch 
diameter  (cut  with  a  hollow  punch),  and  a  hole 
punched  in  the  middle,  are  placed  on  each  front 
pin,  and  a  similar  disc,  i  inch  diameter,  is  put 
on  the  middle  pins.  These  form  a  soft  bed  for 
the  keys  to  work  on,  and  dispense  with  the  noise 
that  the  keys  would  make,  when  pressed  down, 
through  the  key  coming  in  contact  with    the 


out  by  a  fine  keyhole  saw,  or  they  may  be  done 
with  a  chisel,  by  mortising  from  the  top  a  little 
way,  and  then  from  the  bottom.  The  front  part 
of  the  natural  key  is  cut  in  a  slanting  direction, 
and  a  gap  is  formed  between  the  end  of  the 
sharp  and  the  natural,  r3s  inch  wide,  as  seen  in 
Fig.  103.  Should  the  front  ends  of  the  sharps 
procured  be  round,  the  ends  of  the  black  notes 
will  have  to  be  cut  round  to  suit  the  ivory  keys. 
With  a  fine  smoothing-plane,  plane  the  sides  of 
the  keys  thus  separated,  taking  off  as  little  as 


THE   ELECTRIC   BELL. 


487 


possible.  Where  the  plane  will  not  touch  the 
wood,  use  a  file  and  glasspaper. 

The  keys  have  now  to  be  eased.  Put  each 
key  into  its  place  separately,  and,  with  a  fine 
flat  file,  mate  the  mortise  a  trifle  larger  until 
the  key  will  just  move  up  and  down ;  on  no 
account  let  them  be  loose.  When  all  are  fitted, 
put  the  smallest  lubrication  of  soap  on  each  pin 
with  the  thumb  and  finger. 

It  is  more  than  likely  that  the  ivories  will 
be  discoloured  ;  to  clean  them,  scrape  them  well 
with  a  steel  scraper,  then  rub  in  well  a  thick 
mixture  of  whitening  and  water,  finishing  them 
off  with  a  pad  and  fullers  earth. 

Put  all  the  set  in  their  places,  and  glue  on  the 
sharps.  The  front  end  of  the  ebony  should  come 
almost  close  to  the  back  ends  of  the  two  natural 
keys,  between  which  the  sharp  has  to  work.  The 
only  way  to  fix  them  is  to  glue  the  wood,  and 
rub  the  pieces  well  together  until  a  good  joint  is 
formed.  When  laying  the  ivories  and  the  sharps, 
use  new,  clean  glue,  not  too  thick,  or  the  glue 
can  be  seen  through  the  ivory.  If  anyone  makes 
the  keys  for  himself,  I  must  say  that  too  much 
care  cannot  be  paid  to  all  the  foregoing  details. 

A  piece  of  mahogany,  2  feet  6f  inches  long, 
\  inch  thick,  2  inches  wide,  will  be  laid  across 
the  keys  at  6J  inches  from  the  front.  Four 
centre-bit  holes,  1  \  inches  in  diameter  and  A  inch 
deep,  will  be  bored  in  it,  and  four  round  pieces 
of  lead  will  be  fitted  into  them,  to  give  the 
thumper,  as  it  is  termed,  more  weight.  The 
bottom  side  of  the  wood  must  be  planed  quite 
true,  to  form  a  good  joint  over  the  keys.  A  pin 
will  project  \  inch  beyond  each  end,  and  a  notch 
is  cut  in  the  cheeks,  up  and  down  which  the  pins 
will  move  as  required.  The  thumper  prevents 
the  keys  rebounding,  which  they  would  other- 
wise do,  from  the  weight  of  the  pallet  springs. 
The  bottom  of  the  mahogany  must  be  covered 
with  baize,  to  ensure  quietness,  k,  Fig.  103,  is 
the  thumper. 

A  piece  of  i-inch  oak,  1  \  inches  wide,  notched 
at  each  end,  will  be  glued  to  a  strip  of  the  same 
material,  2  inches  wide,  and  the  two  will  be 
screwed  \  inch  behind  the  sharp  keys,  and  be 
planed  flush  with  the  outside  of  the  cheeks,  as 
seen  in  m,  Fig.  103.  A  bead  of  oak  will  be 
screwed,  between  the  cheeks,  to  the  front  rail, 


If   inches  wide,  with  the  top  edge  rounded,  v, 
Fig.  103.     Brass  screws  look  best. 

Thus  far  finished,  the  keys  are  fixed  on  the 
key  bench  with  four  long  screws,  sunk  through 
the  cheeks  behind  the  piece  m,  Fig.  103,  or  they 
will  show.  The  front  ends  of  the  cheeks  must 
come  flush  with  the  front  rail  of  the  key  bench, 
and  if  properly  constructed,  the  inside  of  the 
cheeks  will  come  flush  with  the  inside  edges  of 
the  long  rails  of  that  same  piece. 


THE  ELECTRIC    BELL: 

AND     HOW    TO     CONSTEUCT    IT. 
By  JNO.    H.  MILNE. 


IV.  —  Methods     of    Connecting    up     for    various 
purposes — The  Morse  Key. 

HE  next  subject  to  be  considered  is  the 

manner   of  connecting   up   the    line 

wire,    or  completing  the   current   of 

the  electric  bell. 

Fig.  19  gives  an  example  of  the  simplest 
kind,  a  single  battery  bell  and  push,  a  is  the 
push,  b  the  bell,  and  o  the  battery.  When  the 
push  is  pressed  down,  the  current  proceeds 
from  the  carbon,  or  positive  pole,  to  the  nearest 
terminal  of  the  bell,  along  the  wire  in  the 
direction  of  the  arrow,  through  the  push  and 
back  to  the  zinc,  or  negative  plate,  by  the 
return  wire,  as  shown  by  the  arrow. 

If  it  is  intended  to  use  a  gas-pipe  as  an  earth 
return,  then  a  reference  to  Fig.  20  will  explain 
how  this  is  to  be  done.  Instead  of  a  return 
wire,  as  in  Fig.  19,  the  wire  passes  from  the  push 
to  a  gas  or  water  pipe,  to  which  it  is  securely 
soldered.  The  wire  from  the  zinc  pole  is  also 
carried  to  a  gas  or  water  pipe. 

The  reader  should  here  be  cautioned  as  to  the 
latter  method,  as  in  many  cases  the  earth  con- 
nections of  the  pipes  may  not  be  good ;  for 
instance,  some  non-conducting  substance  may 
possibly  intervene  in  the  course  of  the  pipe, 
thus  preventing  the  current  from  passing,  the 
bell  from  acting,  and  causing  considerable 
trouble  before  the  fault  is  discovered. 

Fig.  21  shows  the  manner  of  connecting  up 
two  bells  to  ring  at  the  same  time  from  one 
push.      Two   single    stroke   bells  can    also  be 


488 


THE  ELECTRIC  BELL. 


connected,  as  shown  in  the  figure.  The  current 
will  be  divided  passing  through  the  nearer  and 
further  bell.  This,  however,  is  a  method  not  so 
satisfactory,  as  owing  to  the  separation  of  the 
current  the  ringing  is  uncertain. 

Additional  battery  power  is  required  in 
this  case.  The  plan  described  in  Fig.  22 
is  preferable. 

Pig.  22  shows  how  two  such  bells  are  rung 
from  two  points.  In  this  way  several  bells 
can  be  made  to  ring  in  separate  rooms,  the  first 
vibrating,  the  rest  single  stroke.  Sufficient 
battery  power  must  be  supplied.  However,  it 
will  not  be  necessary  to  spend  further  time  on 
this  arrangement,  as  it  is  hardly  likely  that  the 


Station  /, 


The  objection  to  several  bells  at  the  same 
station  is  that  mistakes  are  made  as  to  the 
particular  bell  which  sounded.  The  bells  can 
be  varied  greatly  in  shape  and  size,  as  shown 
in  the  figure,  or  different  sizes  and  shapes  of  bells 
can  be  used,  four  examjiles  of  which  are  given 
in  Fig.  26,  thus  making  distinctions  in  sound  as 
far  as  possible.  It  is  remarkable,  nevertheless, 
how  a  listener  will  become  confused  after  having 
heard  one  of  several  bells  ring ;  and  in  many 
eases,  although  knowing  the  distinct  tone  of  each 
bell,  he  may  yet  be  unable,  after  having  heard 
it,  to  tell  which  one  of  the  set  sounded,  especially 
if  his  attention  is  at  the  moment  of  ringing 
otherwise   occupied.     Therefore  a  much    more 

Station  2 


FIO.^O. 


o 


Station  /. 


ii 


Earth 


.o  o 


Station  2. 

-o 


FIC.3I. 


HI 


Eartti\ 


o 


-O 


Earth 


reader  will  have  much  occasion  for  two  bells  to 
ring  at  the  same  time,  so  his  attention  is 
directed  to  another  combination. 

Fig.  23  shows  how  one  bell  can  be  rung  from 
four  places. 

Fig.  24  shows  how  four  bells  in  separate 
rooms  can  be  rung  from  one  point.  1,  2,  3,  4 
are  the  pushes.  When  the  right-hand  push, 
No.  4,  is  pressed,  the  current  passes  from  the 
battery  through  the  push,  rings  the  top  bell, 
and  then  returns  to  the  battery.  No.  3  push 
corresponds  with  the  next  bell;  No.  1,  the 
left  push,  with  the  lowest  bell.  Each  push  is 
connected  with  the  return  wire,  as  shown  in 
the  figure. 

Fig.  25  shows  this  arrangement  adapted  to 
the  case  of  four  different  bells  at  one  place 
being  rung  from  four  separate  points. 


certain  and  preferable  plan  to  adopt  when 
several  call  bells  are  required,  is  to  use  one  beU, 
with  indicators  attached,  so  that  on  the  bell 
ringing,  the  attendant  has  only  to  look  at  the 
indicator  to  find  whence  the  call  comes. 

Fig.  26,  a,  b,  c,  d,  shows  bells  of  various 
shapes. 

Fig.  27  shows  the  method  of  connecting  up 
by  which  signalling  can  be  carried  on,  using  a 
bell  on  the  "  Morse "  principle,  as  stated 
later  on. 

The  key,  a,  presses  against  the  upper  point, 
b,  when  at  rest.  If  it  is  desired  to  signal  from 
station  1  to  station  2,  the  key  at  station  1  is 
pressed  down  so  as  to  make  contact  with  c.  The 
current  from  the  +,  or  positive  pole,  of  the 
battery  d  proceeds  to  the  point  c,  along  the 
key,  line  wire,  key  a  of  No.  2  station,  contact 


THE  ELECTRIC  BELL. 


489 


Station  / 


I  FIG. 27.    iialion 
J2 


^^ 

StaUfln  ]  . 


r^lSfg  ,/f 


k 


IC.20 


tf 


'.ffsW 


ix 


Station  2 

ZJ 


-fC 


o 


FIC.29. 


EaJ-Vt 


tot/T 


7T 


f-iG.ze. 


Bart) , 


490 


THE  ELECTRIC  BELL. 


point,  b,  rings  the  bell,  e,  during  its  passage 
through  it,  then  to  the  earth  wire  of  the  battery, 
where  the  earth  wire  from  the  bell  meets  it  at 
the  point,  f,  ultimately  to  the  earth. 

If,  on  the  other  hand,  station  2  wishes  to 
signal  to  station  1,  the  key  at  station  2  is 
pressed,  and  the  current  proceeds  in  the  same 
manner  as  above  described,  d,  c,  a,  to  station  1, 
through  a,  b,  to  bell,  then  to  earth  wire  of 
battery,  and  to  earth. 

If  the  electric  bell  is  set  by  the  regulating 
screw  forming  contact  with  the  armature,  so  as 
to  produce  a  very  rapid  vibration,  this  can  be 
made  the  medium  for  maintaining  conversation 
on  the  "  Morse  "  principle  before  mentioned, 
a  short  depression  of  the  key  producing  a  dot  or 
short  sound  on  the  bell ;  while  a  sustained 
depression  produces  a  dash ;  thus  the  combina- 
tion makes  up  the  alphabet.  The  more  rapid 
the  action  of  the  bell,  the  more  marked  will  be 
the  distinctions  in  sound.  In  actual  practice  an 
instrument  called  the  "sounder"  is  employed, 
which  is  really  a  relay  magnet,  but  not  so 
delicately  made. 

The  reader  can  use  an  ordinary  electric  bell, 
with  the  hammer  head  and  hammer  lever  cut 
off,  while  the  armature  is  made  to  work  between 
adjustable  screws.  Fig.  28  will  explain  the 
construction. 

The  following  is  the  alphabet,  which  is  set 
out  here  for  the  convenience  of  the  reader  if  he 
should  wish  to  try  the  experiment : — 


A.- 

F.  .- 

K-.- 

P  .  --. 

U 

B-.  . 

.    G--. 

L.  -.. 

Q--.- 

V 

C-.  - 

.  H... 

M-- 

R  .-. 

w 

D-  . 

I.  . 

N-  . 

S.  .  . 

X 

E. 

J.-- 

-       0 

T- 

Y 

z 

By  the  courtesy  of  Messrs.  Gent  &  Co., 
the  writer  has  added,  for  the  convenience  of  the 
reader,  the  following  additional  methods  of  con- 
nection, as  shown  in  their  publications ;  the 
representation  of  the  Morse  key,  where  such  is 
there  used,  being  altered  to  that  of  the  ordinary 
push,  in  order  to  make  the  system  as  clear  as 
possible  to  the  beginner. 

Tig.  29  shows  how  signalling  can  be  carried 
on  in  both  directions,  one  battery,  Morse  keys, 
and  two  line  wires  being  employed.      On  the 


lever  or  key,  a,  being  pressed  down,  the  current 
passes  from  the  -J-  pole  of  battery  d,  through 
c  a,  the  upper  line  wire,  along  the  key  a,  by  b 
through  the  bell  b,  then  to  earth. 

The  negative  pole  is  joined  directly  to  earth  ; 
this  need  not  be  described. 

When  station  2  signals  back,  lever  a  at 
station  2  is  depressed.  The  current  proceeds 
from  the  -f-  pole  of  the  battery,  d  ;  it  cannot  pass 
to  a,  as  there  is  no  contact  with  o,  so  it  passes 
along  the  lower  line  wire,  through  o,  along  i, 
which  is  depressed  against  c,  back  by  the  upper 
line  wire  to  key  a  of  station  1,  past  b,  rings 
bell,  e,  then  to  earth. 

Fig.  30  shows  how  signalling  in  both  direc- 
tions can  be  carried  on,  one  battery,  ordinary 
pushes,  and  three  line  wires  being  employed. 
On  the  push  or  press  button,  making  contact 
at  station  1,  current  proceeds  from  battery 
along  line  No.  2  through  bell  to  earth.  On 
station  2  replying,  the  push  is  pressed,  current 
proceeds  from  -J-  pole  at  station  1,  along  the  line 
No.  3,  through  depressed  push  at  No.  2,  return- 
ing along  top  line  No.  1,  ringing  bell  at 
station  1 ,  then  going  to  earth. 

Fig.  31  shows  how  signalling  can  be  main- 
tained in  both  directions  by  means  of  ordinary 
pushes,  battery  at  one  end,  two  line  wires  being 
used.  On  the  push  at  station  1  being  pressed, 
the  current  proceeds  from  -j-  pole  of  battery  by 
lower  bine  wire  to  bell  at  station  2,  thence  to 
earth.  On  the  push  at  station  2  being  pressed, 
the  current  from  the  -|-  pole  of  the  battery  at 
station  1,  proceeds  through  and  rings  the  bell 
at  station  1 — it  cannot  proceed  by  the  push, 
as  it  is  open— then  along  the  upper  line  wire, 
through  the  pressed  push  at  station  2,  then 
to  earth. 

Fig.  32  gives  a  sectional  view  of  the  Morse 
key.  On  the  lever,  a,  pressing  against  b,  which 
is  in  the  position  for  receiving,  the  current  comes 
along  line  wire  through  key  to  earth.  When 
the  key  is  depressed,  the  current  from  the  -(- 
pole  of  the  battery  passes  through  c,  and  then 
along  line  wire. 

Fig.  33  is  a  different  construction  of  the  same 
key,  although  the  principle  is  precisely  the  same 
as  in  that  shown  in  the  foregoing  figure,  which 
will  be  evident  on  comparison. 


WRINKLES  FOR  AMATEUR    WOOD   ENGRAVERS. 


491 


WRINKLES  FOR  AMATEUR  WOOD 
ENGRAVERS. 

By  AN  AMATEUR  ENORA  VER. 


JFTEE  reading  the  articles  on  "  Wood 
Engraving "  which  have  appeared 
recently  in  the  columns  of  Amateur 
Work,  one  may  ask — "Are  the  benefits  to  be 
derived  .from  a  knowledge  of  the  art  worth  the 
trouble  it  takes  to  learn  it  ?  "  This  depends,  of 
course,  on  the  person  himself,  and  whether  he 
intends  to  make  it  his  occupation  in  the  future. 
Such  a  person  will  consider  the  papers  simply  a 
stepping-stone  to  something  further  advanced. 
But  there  are  many  uses  that  a  set  of  engraving 
tools  can  be  put  to  that  will  make  them  of  value 
to  the  experimenting  amateur,  and  will  enable 
him  to  possess  several  articles  of  utility  that  he 
might  otherwise  have  to  do  without.  One  of  the 
most  valuable  ways  they  can  be  utilised  is  in 
connection  with  rubber-stamp  making.  Rubber- 
stamps  are  made  so  cheaply  now  that  they  are 
used  for  almost  every  purpose ;  but  when  a 
facsimile  of  an  autograph,  or  anything  similar, 
is  wanted,  the  cost  of  engraving  the  same, 
added  to  the  cost  of  the  stamp,  makes  them 
rather  expensive.  The  amateur  engraver  will 
have  no  difficulty  in  producing  these  after  he 
has  had  a  little  practice.  The  most  accurate  way 
of  reproducing  an  autograph  is  to  photograph  it 
on  the  block ;  to  do  this  the  negative  must  be 
a  reversed  one,  or  the  finished  block  would  be 
wrong.  A  simple  way  to  get  a  reversed  negative 
is  to  have  the  name  written  on  thin  white  paper, 
and  then  fasten  the  paper  up  against  the  glass 
at  the  window,  and  photograph  through  the 
back.  A  little  oil  will  render  the  paper 
transparent  enough  if  it  is  not  already  so.  If 
the  name  to  be  reproduced  is  on  some  document 
that  cannot  be  treated  in  this  manner,  use  a  film 
negative  that  can  be  printed  from  either  side. 

If  it  is  not  possible  to  use  photography,  the 
name  may  be  copied  on  the  block  by  means  of 
transfer  paper,  although  it  is  a  nice  job  to  do  it 
exactly.  Eender  the  paper  transparent,  as  above 
described,  and  with  a  fine  point  trace  the  name 
carefully,  using  a  good  quality  of  impression 
paper.      After  the  name  is  transferred  to  the 


block,  carefully  outline  it  with  a  tint  tool,  and 
then  remove  the  surplus  wood.  The  greatest 
care  is  necessary  where  the  lines  cross,  but  the 
beginner  will  be  surprised  at  the  nice  work  he 
can  do  in  this  line  after  he  has  become  some- 
what accustomed  to  handling  the  tools.  In 
making  a  block  to  be  reproduced  as  a  rubber- 
stamp,  cut  the  wood  well  away,  and  leave  a  good 
shoulder,  as  the  ground  work  would  otherwise 
show  in  stamping.  When  completed  the  blocks 
may  be  sent  to  the  rubber-stamp  makers,  and 
casts  made  from  them  at  a  very  small  cost. 

Another  use  for  the  graver  is  the  making  of 
blocks  for  labels,  etc.  If  the  engraver  is  an 
amateur  printer  also,  the  blocks  can  be  printed 
from  direct,  and  labels  designed  for  the  different 
purposes ;  if  not,  then  they  can  be  made  into 
rubber-stamps,  the  same  as  with  the  autograph. 
Many  who  have  books,  like  to  number  them  so 
as  to  keep  record  of  their  whereabouts.  A  very 
neat  way  to  do  this  is  to  engrave  a  block  with  a 
space  for  the  name  of  the  owner,  number  of 
book,  etc.,  and  have  a  rubber-stamp  made  from 
it.  This  can  be  stamped  on  the  fly-leaf  or 
inside  of  cover,  and  will  always  serve  as  a 
warning  to  the  careless  borrower.  The  advantage 
the  engraver  has  over  the  printer  in  this  case  is 
that  he  is  not  confined  to  types  and  borders, 
but  he  can  design  as  he  chooses,  and  his  letter- 
ing and  ornaments  can  be  as  varied  as  he  has 
ability  to  draw  them.  A  typefounder's  specimen 
book  is  a  great  help  in  this  work. 

Initial  seals  can  be  made  of  boxwood  with  the 
aid  of  the  engraving  tools.  To  make  one,  turn 
down  a  piece  of  fine  hard  boxwood  to  a  diameter 
sufficient  to  allow  the  engraving  of  the  initial 
chosen  on  the  end ;  turn  a  knob  on  the  other 
end,  and  plug  up  the  hole  made  by  the  lathe 
chuck  with  wood,  cement,  or  putty.  A  fancy 
initial  can  be  found  in  some  type  specimen 
catalogue,  and  transferred  to  the  end  of  the 
block.  In  engraving  it,  do  not  use  too  fine  tools, 
and  be  sure  and  have  the  cuts  of  a  depth  to 
correspond  to  the  width  of  the  lines;  make 
them  smooth  and  even,  and  a  few  trials  with 
the  sealing-wax  will  show  where  they  need 
touching  up.  As  every  false  cut  will  show  in 
the  impression,  it  is  needless  to  say  that  slow, 
careful    work   is   needed   to   make    the    job    a 


492 


THE  ELECTRIC  ROUNDABOUT. 


success.  Soak  the  block  in  oil  before  using  it, 
so  that  the  wax  will  not  stick  to  it,  and 
occasionally  give  it  a  fresh  oiling.  A  monogram 
seal  can  be  designed  and  engraved  in  the  same 
way ;  so  that,  at  a  little  cost,  the  engraver  can 
supply  himself  with  all  the  seals  he  wants. 

To  the  printer  the  engraving  tools  are  a 
constant  source  of  help,  and  it  is  astonishing 
that  they  are  found  in  so  few  offices.  The 
writer  has  several  times  been  called  upon  by  his 
friends  in  the  craft  to  supply  a  large  letter,  or 
to  reproduce  a  line  that  some  particular  customer 
would  have  nothing  substituted  for;  and  so 
useful  was  it  to  have  such  work  done,  that 
the  foreman  in  one  large  office  procured  a  set 
of  tools,  and  now  turns  out  odd  letters  and 
similar  jobs  at  a  moment's  notice.  In  fact, 
the  engraving  tools  will  be  found  useful  for  a 
great  many  purposes.  The  above  suggestions 
convey  a  few  of  the  most  useful  wrinkles  to  the 
amateur  ;  they  are  thrown  out  simply  to  show 
that  it  is  not  necessary  to  be  able  to  do  fine 
work  in  order  to  enjoy  the  advantage  of  being 
able  to  do  wood  engraving. 


THE    ELECTRIC   ROUNDABOUT. 

By  ROBERT  W.  COLE. 


HIS  toy  is  a  model  on  a  small  scale  of 
those  sources  of  amusement  known 
as  roundabouts,  which,  during  the 
spring  and  summer  months  of  the  year,  furnish 
recreation  and  a  somewhat  doubtful  pleasure  to 
those  who  patronise  them.  Thereal  roundabout 
is  generally  driven  by  steam ;  and  since  it  is 
found  in  working  order  in  all  parts  of  our  native 
land,  its  general  form  and  method  of  working 
will  be  well  known  to  most,  if  not  all,  of  mjr 
readers,  and  will  not  require  further  description. 
A  general  view  of  the  toy,  the  construction  of 
which  I  now  propose  to  describe,  is  represented 
in  perspective  by  Fig.  1,  and  in  ground  plan  by 
Fig.  2.  The  whole  apparatus  rests  on  a  piece 
of  wood  (a  a)  \  inch  thick  and  1 6  inches  square  ; 
b  b  are  two  supports  which  are  fixed,  one  on  each 
side  of  a,  and  across  which  a  bar  of  wood  (c) 
passes.  A  circular  piece  of  wood  (d)  is  fixed  on 
to  a  circular  rod  of  wood  (l)  which  forms  its 


axle,  and  which  is  pivoted  between  o  and  a 
small  block  of  wood  (f).  The  electro-motor  so 
revolves  between  the  two  ends  of  a  piece  of 
metal,  of  the  form  represented  by  K,  and  its 
axle,  i,  which  is  made  of  pinion  wire,  presses 
against  a  large  cogwheel,  g,  which  is  fixed  on 
to  the  axle  of  the  circular  piece  of  wood,  d.  One 
or  two  carriages — only  one  of  which,  for  the  sake 
of  clearness,  is  represented  by  m — and  four 
horses  are  suspended  by  brass  wires  from  the 
circumference  of  d,  and  are  fixed  at  equal  dis- 
tances apart.  The  action  of  the  electro-motor 
in  causing  e  to  rotate,  is  very  simple  :  when  the 
motor  revolves,  the  pinion  wire  which  presses 
against  the  cogwheel  causes  it  to  rotate  also, 
and  consequently  the  whole  piece  of  wood,  d, 
together  with  the  horses  and  carriages,  which 
are  suspended  from  it,  begins  to  rotate. 

We  will  oommence  the  construction  of  the 
toy  with  the  formation  of  the  base  board,  a  a  ; 
this  should  be  16  inches  square  and  \  inch  thick, 
and  may  be  made  of  deal  or,  better  still,  of 
mahogany ;  neatly  round  off  its  edges,  and  in 
the  middle  of  any  two  of  its  sides,  which  are 
opposite  to  one  another,  cut  a  slit  2  inches  long 
and  h  inch  wide,  as  is  shown  in  Fig.  3.  Then 
prepare  two  pieces  of  mahogany  2  inches  wide, 
\  inch  thick,  and  10  inches  long;  fit  them  one 
into  each  slit,  and  procure  another  piece  of 
mahogany  of  same  breadth  and  thickness,  but 
1 6  inches  long,  and  dovetail  its  two  ends  so  that 
they  will  fit  into  the  ends  of  the  two  pieces  of 
wood  10  inches  long.  This  piece  of  wood  is  the 
bar  represented  by  c  in  Fig.  1  ;  and  the  other 
two  pieces  of  wood  form  the  supports,  b  b.  Do 
not  fix  these  pieces  of  wood  together,  but  simply 
fit  them  into  their  places,  since  you  will  have 
to  perform  some  additional  operations  on  them 
later  on 

The  next  part  of  the  construction  of  the 
roundabout  to  which  we  will  turn  our  attention, 
is  the  circular  piece  of  wood,  d  ;  this  should  be 
\  inch  thick,  and  14  inches  in  diameter.  Procure 
a  piece  of  mahogany  about  14  inches  square, 
draw  a  circle  14  inches  in  diameter  on  it  with  a 
pair  of  compasses,  and  cut  out  the  circle  of 
wood  marked  by  the  compasses  with  a  fret-saw. 
Fix  the  circle  of  wood  in  the  vice  of  your  bench, 
neatly  dress  its  circumference  with  a  spokeshave, 


THE  ELECTRIC  ROUNDABOUT. 


49  :$ 


or  with  any  other  tool  which  you  may  find  con-  be  long  enough  to  go  right  round  the  circum- 

venient,    and  drill  a  hole   \  inch  in  diameter  ference  of  the  circular  piece  of  wood  which  you 

through  its   centre.     Tou    will  now  require  a  have  just  made,  and  should  be  nailed  on  to  it  so 

piece  of   that  narrow    zinc   fretwork  which  is  that  its  upper  edge  is  level  with  the  upper  side 

usually  sold  at  zinc-worker's  shops ;  this  should  of  this  piece  of  wood.     In  order  that  you  may 


FIG. II. 

DESCRIPTION   OF    FIGURES. 

FIG-  *■ — GENERAL  VIEW  OF  ROUNDABOUT  ;  A  A,  BASE  BOARD  ;  B  B,  SUPPORTS  ;  D,  ROTATING  PIECE  OF  WOOD  ;  L,  AXIS  OF 
D  ;  G,  COGWHEEL  ;  E  AND  F,  BEARINGS  OF  AXIS  ;  H,  ELECTRO-MOTOR  ;  M,  ONE  OF  THE  SUSPENDED  CARRIAGES. 
F'G.  2.— GROUND  PLAN  OF  ROUNDABOUT,  SAME  PARTS  DENOTED  BY  SAME  LETTERS  AS  IN  FIG.  I.  FIG.  3. —BASE  BOARD 
SHOWING  SLITS  CUT  IN  ITS  SIDES.  FIG.  4.— PIECE  OF  ZINC  FRETWORK.  FIG.  5. — AXIS  OF  ROUNDABOUT.  FIG.  6.— 
LOWER  BEARING  OF  AXLE  OF  ROUNDABOUT.  FIG.  7. — VIEW  OF  AXLE  OF  ROUNDABOUT  FITTED  INTO  ITS  BEARINGS  ; 
A  A,  PORTION  OF  BASE  OF  TOY  ;  B,  LOWER  BEARING  ;  C,  BAR  STRETCHING  ACROSS  THE  SUPPORTS  ;  D.  PORTION  OF 
ROTATING  PIECE  OF  WOOD  ;  E,  LOWER  FLANGE  ;  H,  BRASS  TUBE  ;  K,  UPPER  FLANGE  ;  L  L,  AXIS.  FIG.  8.— SHOWING 
MOTOR  CONNECTED  TO  AXIS  OF  ROUNDABOUT  ;  H,  MOTOR  ;  I.  AXIS  OF  MOTOR  ;  K,  SUPPORT  FOR  AXIS  OF  MOTOR  ; 
F,    LOWER    SUPPORT    FOR    AXIS    OF    ROUNDABOUT  ;    L    L,    AXIS    OF    ROUNDABOUT  ;    G,    COGWHEEL    FIXED    TO    AXIS    OF 

ROUNDABOUT.      FIG.    9.— GALVANISED    IRON    BRACKET    USED    FOR    FIXING   THE   SUPPORTS    TO    THE    BASE.        FIG.    10. 

SHOWING  SHAPE  OF  PIECES  OF  WOOD  TO  BE  CUT  OUT  FOR  SIDES  OF  THE  CARRIAGE.  FIG.  II. — PERSPECTIVE  VIEW  OF 
CARRIAGE  ;  A,  SUSPENDING  WIRE  ;  B,  NUT  ;  C,  TINNED  IRON  WHICH  FORMS  THE  BOTTOM  OF  CARRIAGE  ;  D,  SIDE  OF 
CARRIAGE.  FIG.  12. — SIDE  VIEW  OF  CARRIAGE  SHOWING  METHOD  OF  SUSPENSION  ;  A,  PORTION  OF  ROTATING  ROOF  ; 
C,  BRASS  WIRE  ;   B,  NUT  SECURING  BRASS  WIRE  TO  A  ;    D,  CARRIAGE  ;    E,  NUT  SECURING  D  TO  BRASS  WIRE. 


494 


THE  ELECTRIC  ROUNDABOUT. 


understand  what  is  meant  by  a  narrow  strip  of 
zinc  fretwork,  a  piece  of  it  is  represented  by 
Fig.  4 ;  it  is  added  to  the  circular  piece  of  wood 
merely  for  the  sake  of  ornament. 

We  will  now  proceed  to  the  construction  of 
the  axle  (l)  ;  this  axle,  which  is  represented  hy 
Fig.  5,  is  turned  out  of  boxwood  3  inches  in 
diameter,  and  should  be  8  inches  long.  Each 
end  of  it  for  \  inch  is  turned  \  inch  in  diameter, 
and  both  these  ends  are  rubbed  perfectly  smooth 
with  the  finest  sandpaper.  At  the  end  (a), 
which  is  intended  to  be  the  upper  end  of  the 
axle,  a  flange  of  wood  3  inches  in  diameter,  and 
\  inch  thick,  is  left ;  a  similar  flange  is  left  at  a 
distance  of  4  inches  from  the  end  (b),  and  the 
rest  of  the  axle  is  turned  down  until  it  is  \  inch 
thick.  The  cogwheel  (g,  see  Fig.  1)  is  fastened 
against  the  lower  side  of  the  lower  flange; 
and  the  circular  piece  of  wood  (d,  see  Fig.  1)  is 
fastened  to  the  upper  side  of  the  upper  flange. 

We  will  now  turn  our  attention  to  the  cog- 
wheel, which  is  to  be  fastened  to  the  lower 
flange.  Go  to  a  watchmaker's,  and  get  a  cog- 
wheel 4  inches  in  diameter,  and  having  rather 
large  teeth ;  if  you  cannot  get  one  4  inches  in 
diameter  at  a  watchmaker's,  you  will  probably 
be  able  to  get  one  at  some  other  shop,  or  from 
some  other  source,  or  with  care  you  could  make 
one  from  a  stout  piece  of  sheet  brass.  Having 
procured  the  cogwheel,  chuck  it  on  your  lathe, 
and  drill  a  hole  \  inch  in  diameter  through  its 
centre.  Eemove  the  wheel  from  the  lathe,  and 
drill  and  countersink  four  small  holes  at  equal 
distances  apart  on  its  face,  and  at  a  distance  of 
\  inch  from  its  centre.  Place  the  wheel  over 
the  end  (b)  of  the  axle  (see  Fig.  5),  press  it 
firmly  against  the  lower  side  of  the  flange,  and 
firmly  sciew  it  to  the  flange  with  small  screws 
passed  through  the  four  holes  which  you  have 
already  chilled  through  it.  Now  get  the  circular 
piece  of  wood  14  inches  in  diameter,  and  pass 
the  end  of  the  axle  through  the  hole  which  you 
have  made  through  its  centre,  and  glue  it  firmly 
against  the  upper  side  of  the  upper  flange,  and 
secure  it  by  means  of  screws  passed  through  it 
and  the  flange. 

Having  successfully  completed  these  opera- 
tions, you  may  now  proceed  to  the  construction 
of  the  bearings  in  which  the  ends  of  the  axle 


revolve.  Take  the  bar  of  wood  (c,  Fig.  1 ),  get 
a  piece  of  brass  tube,  having  its  internal  diameter 
slightly  larger  than  \  inoh,  and  drill  through 
the  centre  of  the  bar  a  hole  of  such  a  diameter 
that  the  brass  tube  can  be  tightly  fitted  into  it 
by  hammering.  Take  care  that  this  hole  is 
drilled  perpendicularly  through,  and  is  exactly 
in  the  centre  of  the  bar  ;  then  cut  off  a  piece  of 
the  brass  tube  \  inch  long,  and  hammer  it  into 
the  hole,  taking  care  that  you  do  not  turn  its 
edges  inwards,  or  split  the  bar  of  wood.  This 
piece  of  brass  tube  will  form  the  bearing  for  the 
upper  end  of  the  axle.  Now  fix  the  bar  between 
its  supports,  place  the  end  of  the  axle  in  the 
brass  tube,  so  that  nearly  all  the  axle  is  inside 
it,  and  measure  exactly  the  distance  between  the 
lower  end  of  the  axle  and  the  base  board  of  the 
toy.  Now  proceed  to  make  the  bearing  for  the 
lower  end  of  the  axle ;  this  is  represented  in 
section  by  Fig.  6.  It  is  turned  out  of  boxwood, 
and  a  hole  is  drilled  in  its  centre  \  inch  deep, 
and  wide  enough  for  the  end  of  the  axle  to 
revolve  freely  in  it.  At  its  widest  part  this  piece 
of  wood  is  2  inches  in  diameter,  and  is  made  of 
such  a  thickness  that  the  distance  between  the 
bottom  of  the  hole  in  its  centre  and  its  lowest 
side  (the  distance  from  a  to  b  in  Fig.  6)  is  equal 
to  the  distance  which  you  have  already  measured 
between  the  lower  end  of  the  axle  and  the  base 
board  of  the  toy.  Near  its  circumference  it  is 
made  thinner  than  near  its  centre,  and  four 
holes  are  drilled  through  it  at  equal  distances 
apart,  about  £  inch  from  its  centre.  You  must 
now  screw  this  piece  of  wood,  or  bearing,  as  we 
will  now  call  it,  exactly  in  the  centre  of  the 
base  board,  by  screws  passed  through  these 
holes.  To  find  the  centre  of  the  base  board,  draw 
lines  across  it  from  corner  to  corner  ;  the  point 
at  which  these  lines  cross  one  another  is  the 
centre.  Before  finally  fixing  the  axle  in  its 
place,  drill  six  small  holes  at  equal  distances 
apart  on  the  circular  piece  of  wood,  d,  at  a  dis- 
tance from  its  circumference  equal  to  1  inch. 

The  relative  positions  of  bearings  and  axle 
are  represented  in  Fig.  7  :  a  a  is  a  portion  of 
the  base  board,  b  is  the  bearing  of  the  lower  end 
of  the  axle,  c  is  the  bar  of  wood  which  stretches 
across  the  two  supports  (represented  by  b  b  in 
Fig.  1),  d  is  a  portion  of  the  circular  piece  of 


THE  ELECTRIC  ROUNDABOUT. 


495 


wood,  e  is  the  lower  flange,  to  which  the  cog- 
wheel, g,  is  fastened,  k  is  the  upper  flange,  l  l 
is  the  axle,  and  h  is  the  hole  in  c  which  contains 
the  brass  tube  and  the  upper  end  of  the  axle. 

"When  you  have  completed  all  the  operations 
already  enumerated,  you  may  fix  the  two  sup- 
ports (b  b,  see  Fig.  1)  in  their  places,  the  bar,  c, 
across  them ;  place  the  axle,  together  with  its 
appurtenances,  in  its  position  between  the  bear- 
ings, and  then  screw  the  lower  bearing  in  its 
place,  when  you  will  find,  if  you  have  carefully 
constructed  all  the  various  parts,  that  the  axle, 
together  with  the  circular  piece  of  wood  (d,  see 
Fig.  1)  and  the  cogwheel  will  revolve  easily,  and 
without  shaking. 

We  will  now  turn  our  attention  to  the  con- 
struction and  details  of  the  electro-motor.     This 
must  either  have  its  axis  formed  of  pinion  wire, 
or  it  should  have  a  very  small  cogwheel  fitted  on 
to  it ;  its  axis  is  placed  in  a  vertical  position,  and 
presses  lightly  against  the  cogwheel  (o,  see  Fig, 
1),  so  that  when  it  rotates  the  cogwheel  rotates 
also.     In  Fig.  1,  the  motor  is  represented  by  h  ; 
its  axis,  which  revolves  in  a  curved  piece  of  iron 
(k),  is  represented  by  I,  and  the  whole  motor  is 
represented  on  a  larger  scale  by  Fig.  8,  the  same 
parts  being  denoted  by  the  same  letters  as  in 
Fig.  1.     The  motor  is  represented  by  a  plain 
cylinder,   since  its  form   must  necessarily  vary 
according  to  the  kind  of  motor  which  you  use. 
Whatever  form  of  motor  you  have,  the  revolving 
part    must  not   exceed  2^  inches  in  diameter, 
because  if  it  were  greater  it  would  come  in  con- 
tact with  the  cogwheel.     The  piece  of  iron,  k, 
should  be  cast,  and  should  be  wider  at  its  base 
than  at  its  upper  part,  so  that  it  can  be  screwed 
on  to  the  base  of  the  toy.     Its  upper  arm  must 
not  be  thicker  than  \  inch,  and  should  be  \  inch 
wide,   and  the  distance  between  its  two  arms 
should  not  be  more  than  5  inches.     Drill  a  hole 
large  enough  to  contain  the  ends  of  the  axle,  i, 
about  \  inch  from  the  end  of  each  arm,  and  fix 
the  motor  in  its  place,  as  represented  by  Fig.  8. 
The  motor  can  easily  be  fitted  in  its  place  by 
turning  the  upper  end  of  its  axle,  for  about  1 
inch  in  length,  small  enough  to  fit  into  the  hole 
at  the  end  of  the  upper  arm  of  the  piece  of  iron  ; 
then  pushing  this  end  right  up  into  its  place, 
the  lower  end  of  the  axis  being  above  the  hole 


in  the  lower  end  of  k,  and  then  allowing  it  to 
slide  down.  Before  doing  this,  however,  four 
holes  should  be  drilled  and  countersunk  in  the 
base  of  k,  through  which  screws  are  passed, 
to  fix  it  down  to  the  base  of  the  toy.  When  you 
have  effected  this,  screw  k  down  to  the  base  of 
the  toy  in  any  position  that  you  please,  as  long 
as  the  pinion  wire  presses  against  the  cogwheel 
(g,  see  Fig.  1).  Now  fix  two  binding  screws 
near  to  the  edge  of  the  base  of  the  toy,  and  lead 
stout  cotton-covered  wires  from  them  to  the  two 
terminals  of  the  electro-motor. 

We  will  now  return  for  a  few  moments  to  the 
stand  of  the  toy,  and  see  about  strengthening 
the  two  supports  (b  b,  see  Fig.  1)  ;  this  can  easily 
be  done  by  screwing  a  small  galvanised  iron 
bracket  against  the  lower  end  of  each  support, 
and  screwing  them  on  to  the  base.  These  brackets 
should  not  be  more  than  \  inch  wide  ;  and,  in 
order  that  you  may  see  what  they  are  like,  one 
of  them  is  represented  in  diagram.  When  you 
have  fixed  these  firmly  in  their  places  with 
screws,  you  will  find  that  the  supports  are  per- 
fectly rigid,  and  do  not  shake  at  all  when  the 
roundabout  revolves. 

Tou  have  now  completed  all  the  important 
mechanism  of  the  roundabout,  with  the  excep- 
tion of  a  few  minor  details  to  be  mentioned  pre- 
sently ;  and  it  would  be  best,  before  proceeding 
further,  to  try  the  motor  with  a  battery,  to  see 
if  it  revolves  properly  in  its  bearings,  and  makes 
the  roundabout  revolve  also.  The  battery  power 
required  will  be  very  small,  and  if  the  motor  is 
small  and  well  made,  one  -J-pint  size  bichromate 
cell  should  be  sufficient.  Pour  a  few  drops  of 
oil  on  the  bearings  of  the  motor,  and  if  the 
roundabout  appears  to  revolve  at  all  stiffly,  rub 
a  little  powdered  black-lead  over  the  ends  of  its 
axle.  Having  satisfied  yourself  on  these  points, 
you  may  now  proceed  to  paint  or  varnish  the 
various  parts  of  the  toy  according  to  taste,  and 
the  kind  of  wood  which  you  have  used. 

We  must  now  make  the  horses  and  carriages, 
which  are  suspended  from  the  roof  of  the  round- 
about, and  which  rotate  with  it.  Procure  six 
pieces  of  stout  brass  wire  5  inches  long,  and  cut 
screws  about  \  inch  long  at  both  ends  of  each 
piece  of  wire ;  cut  a  piece  of  stout  sheet  brass 
into    eight    pieces   -]    inch    square,    drill   holes 


496 


AN  EASEL   PORTFOLIO. 


through  the  centre  of  each,  and  tap  them  so  that 
they  will  fit  on  to  the  screws  which  you  have 
cut  at  each  end  of  the  piece  of  brass  wire.     You 
will  now  require  two  carriages  (without  wheels, 
of  course)  and  four  horses ;  the  latter  you  had 
better  buy  ready  made,  but  the  former  you  can 
make  yourself.     Hunt  about  in  the  various  toy 
shops  in  your  neighbourhood  until  you  find  four 
very  neat  and  well-made  horses,  2  or  3  inches 
long  ;  drill  a  hole  in  the  middle  of  the  back  of 
each   horse,  slightly  smaller    than   the   screws 
which  you  have  cut  at  the  end  of  each  piece  of 
wire,  and  firmly  screw  the  pieces  of  wire  into 
these  holes.     This  is  all  that  requires  to  be  done 
to  the  horses ;  so  we  will  now  see  about  making 
the  two  carriages,  leaving  the  suspension  of  the 
horses  until  the  carriages  are  ready  to  be  sus- 
pended too.     To    make  the  carriages,  cut  two 
pieces  of   thin  wood,  1\  inches  long,  into   the 
shape   shown   in   Fig.   10,   and   cut  a  strip  of 
tinned  iron  \\  inches  wide,  and  long  enough  to 
go  right  round  the  curved  part  of  Fig.  10.    The 
two  pieces  of  wood  are  to  form  the  sides  of  a 
carriage,  and  the  piece  of  iron  is  to  form  the 
bottom.     Fasten  the  piece  of  tinned  iron  across 
the  curved  part  of  the  two  pieces  of  wood  with 
small  brass  nails,  and  the  carriage  will  be  com- 
plete.    Paint  the  sides  and   bottom  with    any 
kind  of  paint  that  you  please,  and  through  the 
centre  of  the  bottom  drill  a  hole  large  enough 
for  the  screw,  which  you  have  cut  at  the  end  of 
the  pieces  of  brass  wire,  to  pass  through,  and 
secure  the  screw  in  this  hole  by  screwing  on  to 
it,  as  a  nut,  one  of  the  pieces  of  sheet  brass 
which  you  have  previously  prepared.     Fig.  11 
represents  the  carriage,  as  seen  in  perspective  ; 
a  being  the  piece  of  brass  wire,  b  the  nut  which 
fastens  it  to  the  bottom  of  the  carriage,  d  one  of 
the  sides   of    the  carriage,  and  c  the  piece  of 
tinned  iron  which  forms  the  bottom.    Make  the 
other  carriage,   and  fasten  a  wire  to  it  in  an 
exactly  similar  manner. 

The  horses  and  carriages  must  now  be  sus- 
pended from  the  roundabout ;  this  is  done  by 
passing  the  screws,  cut  at  the  top  ends  of  the 
pieces  of  brass  wire,  through  the  holes  near  to 
the  circumference  of  the  circular  piece  of  wood 
(d,  see  Fig.  1),  and  securing  them  in  their  places 
by  the  nuts  which  you  have  already  made  out  of 


sheet  brass.  Fig.  12  represents  the  method  of 
suspension  on  a  large  scale,  a  being  a  portion  of 
the  circular  piece  of  wood,  c  the  brass  rod,  b 
the  nut  which  fastens  the  brass  rod  to  a,  d  the 
carriage  or  horse,  as  the  case  may  be,  and  e  the 
nut  which  fastens  d  on  to  the  brass  rod. 

A  few  finishing  touches  of  paint,  tastefully 
applied,  will  finish  the  roundabout ;  and,  in  con- 
clusion, I  hope  that  you  will  be  successful  in 
constructing  a  toy  which  will  be  both  a  well- 
working  one  and  one  ornamental  and  neat  in 
appearance. 

•♦- 

AN    EASEL    PORTFOLIO: 

FOE  THE   DISPLAY   AND   KEEPING   OF 

DEAWINGS. 

By   B.  A.  BAXTER. 


T  is  not  intended  to  describe  here  one 
of  those  fashionable  portfolios  the 
making  of  which  would  be  beyond  the 
powers  of  most  amateurs,  whilst  the  purchase 
of  necessary  brass  fittings  would  be  expensive. 

The  article  we  have  to  deal  with  is  partly  an 
easel,  but  is  still  more  a  portfolio  stand,  and  the 
original  was  made  to  order,  of  yellow  deal  of 
the  best  quality,  put  together  with  mortises  and 
tenons,  with  the  edges  stop-chamfered,  and  the 
whole  stained  black  and  polished.  Of  course, 
the  amateur's  choice  of  material  may  be  either 
of  more  valuable  or  attractive  wood,  or  may 
simply  be  of  deal,  stained  and  varnished.  The 
height  of  the  easel  is  5  feet  6  inches,  and  the 
width  is  about  1  foot  9  inches  at  the  top,  and 
2  feet  6  inches  at  the  bottom ;  the  back  frame 
should  correspond  in  width,  but  may  be  shorter, 
and  should  have  two  legs  upon  the  ground,  and 
not  merely  one  in  the  centre,  as  the  moving 
about  of  heavy  portfolios  might  upset  a  tripod 
stand.  The  dimensions  of  the  principal  parts  are 
2|  inches  wide  and  1  inch  thick. 

In  Figs.  1  and  2  will  be  seen  the  general 
appearance  of  the  easel,  and  the  small  front 
frame  there  shown  is  hinged  to  the  shelf  on 
which  the  portfolio  is  placed ;  this  front  frame 
falls  down  in  a  horizontal  position,  and  the 
pictures,  after  being  shown,  may  be  laid  down 
I  horizontally  on  the  cover  of  the  folio,  leaving 


AN  EASEL   PORTFOLIO. 


497 


the  rest  in  proper  position,  nearly  upright  upon 
the  stand.  Of  course,  the  hingeing  of  this  front 
frame  upon  the  shelf  which  supports  the  folio, 
makes  it  needful  to  fix  the  shelf  very  firmly  ; 
and  in  the  stand  which  suggested  this  paper,  I 
made  brackets  which  were  glued  and  screwed 
to  both  shelf  and  stiles  (see  Fig.  4). 

Under  this  shelf  and  frame  there  is  another 
shelf  without  frame  or  movable  arrangement, 
though  a  front  frame  could  be  easily  added,  as 
above ;  this  was  intended  for  still  another  folio, 
which,  being  placed  here,  certainly  adds,  by 
its  weight,  something  to  the  stability  of  the 
whole  affair. 

It  is  not  necessary  in  this  article  to  describe 
every  process  of  manufacture  of  the  easel,  but 
our  Editor  may  allow  me  to  give  one  or  two 
general  directions. 

First,  let  me  advise  all  workers  that,  when- 
ever splayed  work  is  to  be  done,  especially 
mortise  and  tenon  work,  a  centre  line  be  imagined 
vertical  and  straight,  and  that  a  half  drawing 
be  made  on  a  board,  showing  the  angles  and 
intersections  of  the  stiles  and  rails ;  in  this 
case,  the  rails  can  be  drawn  with  a  T  square,  at 
the  proper  distances  and  to  the  correct  widths  ; 
then,  upon  these  rails  measure  off  the  half  width, 
or  upon  lines  which  represent  the  top  and  floor 
lines,  mark  off  half  the  width,  and  with  a 
straightedge  draw  both  the  outer  and  inner 
edges  of  the  stiles.  The  worker  can  now  go  on 
with  certainty,  and  will  have  a  pattern  giving 
data  for  the  setting  out  of  both  stiles  and  rails, 
and  which  will  also  serve  as  a  bevel  for  the  angle 
required  (see  Fig.  3). 

The  stop-chamfering  may  be  done  with  chisels 
and  planes  ;  but  I'  just  made  a  V  groove  in  a 
small  smoothing-plane,  which  in  my  hands  works 
well.  The  insertion  of  the  iron  alone  gives  the 
size  of  the  chamfer,  but  it  is  very  important  to 
see  that  the  plane  is  used  the  favourable  way 
of  the  grain  ;  with  management  some  regulation 
of  the  shaving  can  be  made. 

The  ends  of  the  stiles  are  rounded,  or  other- 
wise shaped,  and  I  should  advise  that  several 
be  cleaned  off  together,  before  the  frames  are 
glued  up. 

A  hint  as  to  hingeing  may  not  be  out  of  place. 
The  centre  of  the  pin,  on  which  the  parts  of  the 


hinge  turn,  should  always  be  nearly  coincident 
with  the  arris  of  the  door  or  flap,  and  frame, 
but  should  never  be  included  within  the  sub- 
stance of  either  ;  that  is,  when  each  part  of  the 
hinge  is  let  in  as  it  should  be ;  and  when  two  or 
more  hinges  are  fixed  on  a  door  or  frame,  they 
should  be  so  placed  that  a  straight  line  would 
pass  through  the  centres  of  both  the  hinges. 
This  is  too  often  forgotten  by  the  beginner. 

So  much,  then,  for  general  description.  We 
will  now  begin  the  practical  work.  I  have  said 
the  stiles  and  rails  are  to  be  2^  inches  by 
1  inch.  I  had  in  view  the  probability  that  the 
amateur  might  use  pine,  which  is  usually  sold 
in  boards  11  inches  wide,  though  yellow  deal 
can  be  had  1 1  inches  wide  also  if  desired.  If 
either  is  chosen  in  preference  to  a  harder  wood, 
it  must  be  good  of  its  kind.  Divide  the  boards 
into  four  equal  parts,  first  drawing  a  centre 
line  :  workmen  do  this  by  holding  the  rule  to  the 
board  with  the  left  hand,  the  first  finger  under 
the  rule,  and  on  the  edge  of  the  board  ;  amateurs 
usually  get  a  few  splinters  in  their  fingers  when 
they  attempt  this,  but  if  the  way  the  ends  of  the 
fibres  lay  is  noticed,  and  the  finger  travel  in  the 
right  direction,  no  splinters  need  be  encountered. 
Cut  down  the  board  with  the  rip-saw- — a  hand- 
saw will  answer  the  purpose,  however — and  care 
in  sawing  straight  and  square  will  save  time  and 
labour  in  planing.  We  can  cut  off  two  lengths 
5  fee.t  6  inches  for  the  main  front,  and  two 
lengths  5  feet  3  inches  for  the  back  frame ; 
always  secure  the  long  pieces  first;  the  remainder 
will  cut  up  for  short  pieces,  and  there  will  be  less 
waste  than  with  the  reverse  plan.  None  of  the 
other  pieces  exceed  2  feet  2  inches  in  length, 
and  exact  dimensions  can  be  obtained  from  the 
working  drawing  I  have  recommended. 

The  planing  up  presents  difficulty  to  some  of 
our  readers,  but  if  we  try  to  work  steadily, 
using  sharp  planes,  standing  well  behind  the 
tool,  and  trying  to  avoid  the  oommon  fault  of 
beginners,  that  of  planing  too  heavily  at  the  end 
near  the  bench-stop,  we  shall  soon  overcome  the 
difficulty.  The  square  must  be  used  frequently, 
as  soon  as  one  surface  is  planed  satisfactorily, 
to  test  the  squareness  of  the  edge,  and  when  one 
flat  and  one  edge  of  each  piece  is  planed 
properly,  do  not  fail  to  mark  these  surfaces  to 


498 


AN  EASEL   PORTFOLIO. 


Fljoor  Line 
FIC.3. 


show  that  they  are  true.  When  each  piece  is 
planed  on  two  surfaces,  and  marked  accord- 
ingly, the  marked  surfaces  are  not  to  be  planed 
any  more,  but  are  to  be  used  as  test  surfaces, 
from  which  to  gauge  lines  (with  a  marking 
gauge),  thereby  securing  uniformity  of  width 
and  thickness  in  each  piece,  and  perfectly 
parallel  edges. 

The  mortises  are  to  be  set  out  on  the  edges  of 
the  stuff,  while,  of  course,  the  tenons  must  have 
their  shoulders  marked  on  the  front  and  back. 


DESCRIPTION    OF   FIGURES. 

FIG.  I. — EASEL  COMPLETE  ;    %    INCH    EQUAL    I    FOOT. 

FIG.  2. — EASEL   IN   USE  ;    %   INCH   EQUAL    I    FOOT. 

FIG.  3. — HOW  TO  SET  OUT   HALF  OF  FRONT  ;  A,  STILE  ; 

B    B    B,    RAILS  ;     C    C,     SHELVES  ;     D    D,    BRACKETS. 

H   INCH    EQUAL    I    FOOT. 
FIG.  4. — METHOD    OF    HINGEING  FALLING  FRONT,    AND 

OF  FIXING   BRACKETS. 
FIG.  5.— SUGGESTIONS  FOR   FINISHING  ENDS. 
FIG.  6. — SUGGESTIONS    FOR    STAYS. 

When  using  a  mortise  gauge,  see  that  both 
teeth  are  equally  long,  both  sharp,  and  the 
correct  distance  apart  for  the  chisel  in  use  ;  the 
best  way  to  ensure  this  is  to  try  the  tool  on  a 
spare  piece  of  wood. 

Always  set  out  stiles  in  pairs,  and,  whenever 
possible,  rails  also  ;  accuracy  is  thus  secured, 
and  time  is  economised.  The  bevel  is,  as  shown 
in  Eig.  3,  taken  from  the  working  drawing 
which  I  have  advised  the  amateur  to  make. 

I  need  hardly  say  that  care  is  needed  to  ensure 


AN  EASEL   PORTFOLIO. 


499 


the  bevel  being  correct ;  and  when  it  is  set,  no 
alteration  must  be  made  in  the  setting  out. 
When  either  lengths  or  widths  of  the  spaces 
between  stiles  and  rails  are  changed,  the  angle 
is  changed  also.  There  had  better  be  rails 
behind  each  shelf,  so  that,  in  addition  to  the 
brackets  which  unite  shelves  and  stiles,  the 
shelves  may  be  fixed  by  glue,  and  screwed  from 
the  back  of  the  rails. 

There  is  no  great  difficulty  in  doing  all  this  if 
only  effort  is  made  to  master  the  great  difficulty 
of  the  beginner  in  wood- working ;  that  is,  the 
planing  straight,  to  ensure  the  work  being 
"out  of  winding,"  as  the  workman  calls  it. 
This  "winding"  tendency  is  not  always  the 
worker's  inefficiency,  but  is  also  a  natural 
inclination  in  the  wood  to  twist.  The  grain  of 
wood  may  be  compared  to  a  bundle  of  tubes  of 
very  small  dimensions ;  if  we  can  picture  this 
bundle  endowed  with  life  and  growth  seeking 
the  sunshine  which  during  the  summer  sheds 
its  influence  on  a  full  semicircle  each  day,  it  will 
not  be  impossible  to  imagine  the  assemblage  of 
tubes  having  a  twist  towards  the  sunshine,  just 
as  we  know  leaves  have ;  nor  will  it  be  hard  to 
understand  how  the  process  of  drying  tends  to 
contract  this  slightly  twisted  bundle,  and  either 
cracks  it,  if  in  bulk,  or  winds  it,  if  in  boards. 
Therefore,  each  piece  of  stuff  planed  is  looked 
at  critically  by  the  workman,  to  see  if  a  tendency 
to  winding  exists. 

I  ought,  before  leaving  this  subject,  which  is 
important  in  all  woodwork,  to  remind  the 
reader  that  winding  may  be  easily  reduced 
without  any  labour  by  judicious  cutting-out  of 
the  wood  ;  always  cut  the  smallest  pieces  out  of 
the  most  winding  board,  or  the  winding  part  of 
it,  as  the  defect  is  reduced  to  one-fourth  by 
halving  the  board,  so  that  it  is  reduced  to  one- 
sixteenth  by  dividing  the  board  into  quarters. 
In  other  words,  cut  the  longest  pieces  first,  out 
of  the  best  material  at  command,  and  let  the 
smaller  pieces  be  cut  from  the  remainder, 
which  may  be  less  desirable  stuff;  economy  and 
excellence  are  thus  secured  by  foresight  in 
cutting  out. 

Having  now  cut  the  wood,  let  us  hope,  with 
regard  to  these  particulars,  and  planed  and  set 
out  according  to  requirements,  let  no  considera- 


tion induce  you  to  alter  and  trim  your  work  ;  if 
you  do,  you  either  fail  to  make  good  joints,  or 
you  must  re-set  your  bevels,  and  set  out  afresh. 
If  the  advice  I  give  is  taken,  and  the  mortise 
chisel  accurately  agrees  with  the  setting  of  the 
mortise  gauge,  care  in  cutting  the  tenons  and 
shoulders  will  ensure  the  minimum  of  work  in 
cleaning  off.  Much  work  is  spoiled  by  cleaning 
off,  particularly  if  the  surface  is  polished  or 
varnished ;  to  look  well,  the  work  needs  not 
only  to  be  smooth,  but  also  flat,  and  though  a 
smoothing  plane  is  very  handy,  and  so  useful  as 
to  be  indispensable,  it  is  often  so  used  as  to  spoil 
the  appearance  of  the  work.  If  the  fines  are 
strictly  kept  to  (and  they  are  useless  if  they  are 
not),  the  surfaces  of  the  stiles  and  rails  will 
scarcely  require  any  planing  after  glueing  up, 
the  less  the  better;  and,  in  any  case,  the 
smoothing  plane  must  be  sharp,  and  set  very 
finely. 

The  hinges  used  must  be  strong  brass  butts, 
as  large  as  the  thickness  of  the  stuff  will  allow. 
The  centre  must  be  outside  the  surface  of  the 
work,  or  the  door  or  flap  will  not  describe  a 
semicircle.  In  the  case  of  our  easel,  the 
movement  is  much  less,  so  that  the  need  for 
such  care  is  not  so  imperative,  but  the  rule 
ought  to  be  known  before  the  exceptions  are 
allowed. 

In  passing,  the  word  "rule"  reminds  us  of 
this  point  about  hingeing,  the  centre  of  the  rule- 
joint  being  exactly  at  the  intersection  of  the 
width  and  length,  and  not  within  those  limits, 
as  a  2-foot  rule  will  show. 

The  easel  here  described  has  no  other  support 
for  the  front  frame  than  the  hinges  and  the 
leverage  against  the  under  side  of  the  shelf 
which  the  hinges  permit,  and  no  additional 
support  has  appeared  necessary.  If  desired,  a 
pair  of  struts  or  a  frame  could  be  hinged  to  the 
front  frame,  catching  in  notches  on  the  stiles. 

The  lower  shelf  was  an  after  thought,  to  find 
a  place  for  another  portfolio ;  but  its  presence 
is  useful  to  steady  the  whole  thing,  and  we  may 
consider  it  an  improvement. 

To  prevent  the  easel  from  opening  too  much, 
a  web  or  a  cord  on  each  stile  would  do,  but  it 
would  look  very  like  a  pair  of  house  steps ;  and 
a  pair  of  light  brass  casement  stays  would  be  a 


600 


NOW  TO  PROCURE  A   PATENT. 


great  improvement;  or,  if  they  are  objected  to, 
two  pieces  of  iron,  J  inch  by  £  inch,  pivoted 
together  by  a  central  rivet,  and  at  the  ends 
with  screws  to  back  and  front  stiles,  will 
answer  well. 

It  is  not  necessary  to  describe  the  falling 
front  frame,  as  its  height  depends  on  the  size  of 
the  portfolios  used  with  it.  Make  falling  front 
frame  about  5  inches  longer  than  width  of  folio  ; 
as  to  the  width,  it  may  be  made  so  as  to  fit  in 
between  stiles. 

The  shelves  are  4J  inches  wide,  and  the 
framing  is  so  set  out  that  rails  and  shelves 
mutually  fix  each  other. 

The  ends  of  the  stiles  of  each  frame  that  are 
seen  can  be  rounded,  or  the  corners  taken  off,  or 
an  ogee  pattern  cut  in  this.  Be  guided  by 
the  surroundings  of  the  easel  and  your  own 
taste  ;  let  the  curves  of  the  brackets  manifest 
the  same  feeling,  and  be  suitable  in  size  as  well 
as  appearance. 

I  have  given  no  instructions  as  to  finishing, 
because  requirements  are  so  varied,  and  the 
information  is  embodied  in  various  other  articles 
in  back  numbers  of  Amateur  Work. 


Chinese  Tarnish. — The  British  Consul  at 
Hankow,  writing  of  the  varnish  exported  from 
that  city,  says  he  is  informed  that  it  is  the  gum 
of  a  tree,  Rhus  vemicifera.  Incisions  are  made 
in  this  tree,  and  the  gum  that  issues  is  collected 
and  strained,  both  operations  being  entirely 
performed  in  the  dark,  as  light  spoils  the  gum  ; 
moreover,  it  must  not  be  strained  in  wet 
weather,  as  moisture  also  causes  it  to  solidify ; 
but,  on  the  other  hand,  unless  it  is  used  in 
wet  weather,  it  will  never  set,  but  will  always 
remain  sticky.  As  used  by  the  Chinese,  this 
varnish  takes  about  a  month  to  dry,  and  duiing 
the  time  of  drying  it  is  injurious  to  the  eyes. 
The  Consul  suggests  that  this  gum  may  have 
been  one  of  the  ingredients  of  the  famed 
Cremona  varnish,  and  urges  that  experiments 
be  made  with  it,  with  the  view  of  obtaining  a 
varnish  that  will  give  a  mellow,  instead  of  a 
harsh  or  glassy  sound,  when  used  upon  violins 
or  instruments  of  a  like  character. — Scientific 
American. 


HOW  TO    PROCURE    A    PATENT. 

By  PERCY  C.   R  US  HEN. 


jT  object  in  writing  the  following  lines 
is  to  help  those  of  my  fellow  amateurs 
who  have  thought  of  "good  ideas  or 
inventions,"  as  we  call  it,  and  who  wish  to 
procure  letters  patent  for  the  same  without 
employing  an  agent. 

A  few  preliminary  hints  as  to  the  advisability 
of  employing  a  patent  agent  will  not,  I  think, 
be  amiss.  If  the  invention  is  complicated,  such 
as  improvements  in  or  relating  to  chemical  sub- 
stances, where  extreme  carefulness  has  to  be 
exercised  in  compiling  the  specification,  I  should 
say  do  not  attempt  it  yourself,  but  employ  an 
agent.  The  agent  should  be  a  registered  one, 
and  preferably  one  who  can  claim  experience 
relating  to  your  invention.  Do  not  go  to  the 
cheapest  you  can  find,  as,  possibly,  you  may  be 
able  to  patent  it  yourself  as  well  as  he  ;  but  do 
not  be  afraid  to  spend  a  few  extra  pounds,  as  it 
pays  in  the  end.  On  the  other  hand,  if  the 
invention  be  one  of  those  little  novelties  com- 
monly called  American,  or  simple  additions  to 
useful  articles,  of  which  there  are  so  many 
patented  nowadays,  I  should  say  that  most 
readers  of  Amateur  Work  could  obtain  letters 
patent  for  those  successfully. 

There  are  two  courses  open  to  such  a  person, 
and  I  will  treat  both  proceedings  separately, 
although  they  are  essentially  the  same,  differing 
only  in  the  length  of  time  taken  in  obtaining 
the  letters  patent,  beginning  with  the  one  more 
generally  taken,  and  the  one  occupying  longer 
time.  First  obtain  one  stamped  Form  A  (Patent) 
which  is  a  kind  of  declaration,  and  two  blank 
Forms  B  (Patent),  by  personal  application  to 
Eoom  6,  Royal  Courts  of  Justice,  or  any  money 
order  office  in  the  kingdom ;  or  the  Form  A 
may  be  signed,  and  then  stamped  £1.  On  the 
two  Forms  B  a  short  description  of  your  inven- 
tion must  be  written  in  duplicate,  not  going  into 
detail,  but  as  clearly  as  possible.  After  signing 
these  forms,  they  must  be  sent  to  or  filed  at  the 
Patent  Office,  and  about  three  weeks  later  you 
may  expect  to  receive  an  intimation  that  your 
papers  have   been   examined  and  found  to  be 


HO IV  TO   PROCURE  A   PATENT. 


501 


correct,  and  that  nine  months'  provisional  pro- 
tection has  been  granted  on  the  invention  from 
the  date  of  filing.  During  this  period,  the 
invention  or  article  may  be  put  on  sale  or 
exhibition,  although  it  is  best  not  to  make  it  a 
publicity,  owing  to  the  opposition  stage  not 
having  arrived.  Also,  during  this  period  the 
complete  specification,  accompanied  with  de- 
scriptive drawings,  if  necessary,  must  be  filed, 
written  in  duplicate  on  two  Forms  C  (Patent), 
one  stamped  £3,  and  continued  on  wide  ruled 
foolscap,  with  a  2 -inch  margin  (if  there  is  not 
room  on  the  Form  B,  the  provisional  specifi- 
cation may  also  be  continued  thus).  The 
drawings,  if  any,  must  be  properly  drawn 
on  drawing-paper,  of  any  number  of  sheets, 
each  12  inches  by  15  inches  or  8  inches 
by  7  inches,  with  a  ^-inch  margin  all  round. 
The  complete  specification  must  be  carefully 
written,  fully  describing  and  detailing  the 
manner  in  which  you  perform  your  invention ; 
also  describing  the  drawings,  with  letters  of 
reference.  It  is  best  to  keep  strictly  to  the 
provisional  specification,  in  case  of  opposition, 
in  which  case  it  might  be  detrimental  ;  but 
small  alterations  and  additional  modifications,  if 
thought  of,  may  be  included  in  the  complete 
specification,  but  not  claimed.  State  what 
you  do  not  limit  yourself  to,  and  what  is 
not  your  invention.  At  the  end  come  the 
claims  in  any  number,  each  "covering"  or 
claiming  a  combination,  an  article,  or  a 
method,  as  the  case  may  be ;  but  be  sure  you 
claim  as  much  as  you  possibly  can,  without 
exceeding  the  limits  of  your  invention.  Weigh 
well  every  word,  and  think  what  possible 
advantage  or  use  an  infringer  could  put  it 
to ;  use  no  ambiguities.  After  filing,  about 
a  month  or  six  weeks  elapses  before  you  may 
expect  to  receive  a  somewhat  similar  accept- 
ance to  the  first,  which  acceptance  will  be 
published  in  the  Official  Journal  on  the  next 
Wednesday.  Within  two  calendar  months  from 
this  advertisement,  notice  of  opposition  may  be 
entered  at  the  Patent  Office  by  any  prior 
patentee,  stating  grounds  against  the  sealing 
of  a  patent  to  you  on  your  invention.  If 
opposition  is  entered,  put  it  in  the  hands  of  an 
agent    at    once ;    but    such  opposition  does  not 


occur  frequently.  Seven  or  nine  days  after  the 
expiration  of  the  time  of  opposition,  you  may 
expect  to  receive  the  patent.  This  course  is 
certainly  the  best  for  those  persons  who  have 
not  matured  their  invention,  as  during  the  nine 
months  of  provisional  protection  they  have  time 
to  fully  consider  their  idea,  and  improve  upon 
it  if  they  choose. 

In  the  second  course  of  proceedings,  no 
provisional  specification  is  filed,  but  the  Form  A 
and  complete  specification  is  filed  at  once.  This 
is  a  quicker  course  than  the  first  generally  is,  as 
the  letters  patent  are  generally  issued  in  the 
ordinary  way  in  about  three  or  four  months 
time  from  the  date  of  application.  In  both 
methods,  the  letters  patent  take  the  date  of 
application. 

If  any  amendment  or  alterations  are  required 
by  the  comptroller  before  the  sealing  of  the 
patent,  they  had  better  be  complied  with,  and 
the  alterations  must  be  initialled.  Any  amend- 
ment may  be  made  in  your  specification  by 
yourself,  by  applying  for  leave  to  the  comp- 
troller on  Form  A  (Patent),  stamped  £2,  and 
after  it  has  been  advertised  in  the  Official  Journal. 
Clerical  errors  may  also  be  corrected  by  applying 
for  leave  on  Form  A  (Patent),  stamped  £1. 

Your  patent  expires  at  the  end  of  four 
years,  if  not  renewed  year  by  year  up  to  the 
fourteenth,  when  the  letters  patent  will  expire, 
and  the  invention  become  public  property.  The 
terms  of  renewal  are  fully  noted  on  the  back 
of  the  patent.  Suffice  it  to  say,  that  it  will 
cost  you  £140  to  keep  them  in  fores  for  the 
full  time. 

Extension  of  one  month  of  time  for  filing  the 
complete  specification  may  be  obtained  by  filing 
Form  U  (Patent),  stamped  £2. 

The  specifications  and  drawings,  if  any,  are 
printed  about  three  weeks  after  the  adver- 
tisement of  the  acceptance  of  the  complete 
specification,  and  may  be  obtained  at  a  certain 
price  (generally  about  8d.),  at  the  Patent  Office 
Sale  Department,  38,  Cursitor  Street,  W.C.  If 
you  want  to  examine  specifications  in  that  stage 
before  they  are  printed  (they  are  secret  to  the 
public  until  after  complete  acceptance),  or  to 
search  the  register,  Is.  will  have  to  be  paid. 

Bear    in   mind   that   the   examiners   do    not 

VOL.  III.  (N.S.) R    R 


502 


WHEELS  FOR  HAND-CART. 


certify  that  your  invention  has  not  been 
anticipated,  or  priorly  used,  when  they  accept 
your  specification ;  therefore,  it  is  sometimes 
best  to  ascertain,  by  examining  the  lists  and 
specifications  of  inventions  at  the  Patent  Office 
Free  Library  (open  till  10  p.m.),  whether  the  idea 
has  been  patented  before. 

With  your  letters  patent,  you  have  the 
exclusive  right  to  your  invention,  to  make,  sell, 
use,  or  apply,  as  the  case  may  be,  and  can  sue 
any  person  or  persons  doing  the  same  with 
your  patented  invention.  They  may  be  sold,  or 
licenses  granted  under  them  ;  or  if  you  have  not 
the  money  to  patent  the  invention  yourself,  you 
may  co-operate  with  another  person  or  persons, 
although  you  must  state  on  Form  A  who  is  the 
inventor. 

It  is  not  always  these  little  evident  novelties,  or 
combinations,  or  very  large  and  expensive  invented 
machinery  that  are  commercial  successes ;  as  in 
the  former  case,  the  public  have  an  abhorrence 
of  any  combination  or  peculiar  novelty,  thinking 
they  are  frauds,  and  no  manufacturer  can  be 
found  to  make  them  ;  and  in  the  latter  case,  the 
machinery  is  so  very  expensive,  that  a  private 
person  has  not  the  capital.  But  it  is  those  small 
additions  to  useful  articles,  so  small,  indeed, 
that  we  hardly  notice  them  from  the  old,  that 
pay.  Manufacturers  can  be  found  to  make  them, 
and  people  readily  buy  them,  satisfied  that  they 
are  useful  without  expecting  them  to  perform 
wonders.  For  instance,  it  is  said  that  the  man 
who  thought  of  putting  a  piece  of  india-rubber 
on  the  end  of  a  pencil  gained  £20,000  by  it, 
whereas  a  person  who  invents  a  beautiful  piece 
of  machinery,  or  mechanism,  which  is  likely  to 
be  a  real  benefit  to  the  country,  more  frequently 
loses  than  gains  by  it,  probably  owing  to  the 
fact  that  the  uses  to  which  it  may  be  applied  are 
too  advanced  for  the  present  age,  and  peoplo 
will  not  appreciate  its  merit . 

And  now  I  hope  that  the  amateur  who  is 
seeking  to  procure,  or  would  like  to  know  how 
to  procure,  a  patent  for  his  hare-brained  (?)  ideas 
(but  is  only  kept  back  by  the  fear  that  he  will 
be  rather  thin  in  the  face,  and  also  the  pocket, 
after  visiting  the  lawyers),  is  enlightened  on  the 
subject,  and  that  he  sees  his  way  clear  to 
spending  his  money  himself. 


WHEELS  FOR   HAND-CART. 

By  WM.  P  RID  AT. 


II. — Tenoning  Spokes— Mortising  Felloes — Templet 
for  Felloes— Fitting-up  Wheel — Fixing  Tyre- 
Boxing  Wheel — Painting. 

s|  EFORE  resuming  our  labours,  we  reset 
our  gauge,  this  time  for  shoulder- 
%  ing,  or  tanging,  or  making  the  outer 
tenon  to  fit  the  felloe.  In  large  shops  they 
have  a  machine  for  this  kind  of  work,  called 
a  tenoning  machine,  but  they  are  very  ex- 
pensive, and  are  only  used  where  wheels  are 
constantly  being  made ;  these  machines  not 
only  tang  the  spokes,  but  they  also  bore  the 
felloes ;  thus  the  spoke-tenon  is  a  dead  fit  in 
the  mortise  of  a  felloe.  A  tenon-cutter  has  lately 
come  out,  which  will  fit  into  the  drilling- 
machine  or  into  a  strong  brace ;  but  wheels 
were  made,  and  are  still  made,  without  these 
machines  ;  so  we  draw  the  bradawl  out  of  the 
gauge,  and  reset  it  at  2|  inches  lower  down, 
or  the  same  thickness  as  the  felloes.  When  we 
have  marked  all  round  with  this  gauge,  sides 
and  the  back,  we  get  our  tenon  saw,  and  cut 
just  up  to  the  tenon  line,  near  the  spoke  end. 
Do  not  saw  very  deep,  only  saw  the  front  and 
back.  When  we  have  sawn  all  a  little,  we  fix 
the  wheel  in  the  frame.  Now,  if  we  are  making 
a  1  inch  or  a  f  inch  tenon,  we  must  make  a 
mortise  pattern  to  fit  the  tenon  in ;  so  we  get 
our  inch  bit,  which  we  intend  boring  our  felloes 
with,  and  bore  a  hole  through  a  piece  of  hard 
wood,  something  that  will  not  split.  When 
being  driven  on  the  tang,  a  piece  of  oak  will  do  ; 
this  piece  must  be  4  inches  long,  3  inches  wide, 
\  inch  thick,  with  the  corners  cut  off  (see 
Fig.  9).  Get  your  mortise  pattern,  place  it 
upon  the  top  of  spoke — let  the  mortise  be  over 
the  centre  of  spoke — hold  it  with  your  left  hand, 
and  mark  out  the  tenon  with  a  black-lead,  or 
you  might  use  a  pair  of  compasses. 

An  old  wheeler  is  particular  about  making  a 
good  tenon ;  therefore,  be  careful  in  what  you 
are  now  doing.  When  you  have  marked  the 
tenon  out  square  with  your  wood  chisel,  keep 
paring  it  round  until  you  can  get  the  mortise  to 
go  on.  Of  course,  you  will  occasionally  have  to 
use  your  tenon  saw,  to  release  any  pieces ;  in 


WHEELS  FOR  HAND-CART. 


503 


doing  so,  do  not  saw  so  deeply  in  the  tenon  as 
to  weaken  it ;  keep  trying  your  pattern  on  the 
tenon,  and  let  it  be  slack  at  the  top,  and  tighten 
as  it  goes  down  to  the  shoulder.  Tenon  all  the 
spokes  like  this,  and  mind,  whatever  you  do,  to 
make  a  good  job  of  them  (Fig.  10). 

We   are   now  ready  for  our  felloes  ;   there- 


the  joints  of  the  felloes  should  be  in  the  centre, 
between  two  spokes,  and  each  felloe  resting  upon 
two  spokes.  You  will  soon  see,  before  you  get 
many  spokes  on,  that  they  are  not  fitting  right. 
Now,  a  wheeler  always  allows  £  inch  to  every 
foot  of  wheel ;  thus,  in  setting  a  circle  for,  say, 
a  3-foot  wheel,  the  wheeler  would  strike  it  out 


FIG. 10 


DESCRIPTION    OF   FIGURES. 

PIG.  9. — MORTISE  PATTERN.  FIG.  IO. — TENON  ON  SPOKE.  FIG.  H.— CHOPPING  BLOCK.  FIG.  12. — FELLOE  DRESSED. 
FIGS.  13  AND  13A. — TRAMMEL.  FIG.  14.— CART  NAVE  AND  NOGG.  FIG.  15. — HOLE  LEFT  IN  NAVE  FOR  LINCH-PIN. 
FIG.  16. — THE   WHEEL. 


fore,  we  take  the  wheel  out  of  the  frame,  and 
lay  it  upon  the  wheeler's  trestle,  face  upwards. 
Before  we  commence  to  dress  them  off,  we  shall 
require  a  felloe  pattern ;  to  get  this,  we  describe 
a  circle  with  a  trammel,  or  with  a  large  pair  of 
compasses,  upon  the  floor.  I  must,  however, 
tell  you  that  the  felloes  which  you  have  will  be 
too  long ;  this  you  will  see  by  placing  the  felloes, 
letting  them  lie  upon  the  top  of  the  tangs  or 
tenons,  and  up  to  the  shoulders  of  the  spokes ; 


36|  inches  ;  a  4-foot  wheel,  49  inches,  etc.  This 
applies  to  any  wheel,  however  large  or  small  it 
may  be.  Now,  after  striking  our  circle  out,  we 
shall  have  to  strike  an  inner  circle  2\  inches 
within  the  outer  circle,  and  divide  it  into  six 
arcs,  each  arc  being  a  felloe.  (If,  however,  our 
wheel  had  fourteen  spokes  in  it,  instead  of 
twelve,  we  should  have  divided  it  into  seven 
felloes.)  It  is  from  one  of  these  arcs  that  we 
cut  our  pattern  felloe.     Get  a  piece  of  deal  or 


504 


WHEELS  FOR  HAND-CART. 


pine,  \  inch  thick,  and  fasten  it  to  the  floor,  so 
that  in  describing  and  planning  out  we  get  an 
arc  upon  it.  Perhaps  you  will  wonder  how  it  is 
that  we  do  not  cut  a  pattern  from,  or  use,  a 
felloe  which  has  been  upon  a  similar  wheel  to 
the  one  we  are  making.  Well,  if  we  did  so,  the 
rim  of  the  wheel  would  be  entirely  wrong  when 
it  was  finished.  If  each  felloe  was  a  true  arc  of 
a  circle  when  the  wheel  was  finished  and 
hooped,  and  after  the  hoop  had  cooled  down,  it 
would,  in  its  contraction,  draw  the  felloes 
together  at  the  joints,  and  instead  of  the  rim 
being  a  circle  (looking  at  it  from  the  inner  side), 
it  would  appear  to  have  sunk  at  every  joint.  Now, 
this  defect  we  counteract  (another  wheelers' 
secret)  by,  as  I  have  already  said,  allowing  a 
\  inch  to  every  foot  of  wheel,  so  that  if  we  are 
desirous  of  making  a  good  and  nice  rim  to  our 
wheel,  we  cannot  be  too  careful  in  setting  our 
work  out.  "When  we  have  marked  our  board, 
we  saw  the  pattern  out,  and  plane  it  up ;  also 
bevel  the  top  edge  a  little,  so  that  we  see  at  a 
glance  which  is  the  face  side ;  and  mark  upon 
the  pattern  with  the  chisel  the  height  of  wheel 
the  pattern  is  intended  for. 

A  wheeler  generally  paints  his  patterns  with 
two  coats  of  red-lead,  and  numbers  them  with 
white  figures,  and  bores  i-inch  holes  in  them,  to 
hang  them  up  by,  for  future  use.  In  a  wheeler's 
shop  they  will  have  dozens  hanging  up  for  all 
sizes  of  wheels ;  so  that  you  will  see  the  necessity 
for  marking  them  when  I  tell  you  that  between 
a  3  feet  wheel  pattern  and  a  3  feet  6  inches 
wheel  pattern  the  difference  is  scarcely  dis- 
tinguishable. "We  will  suppose  we  have  the 
pattern  ready  :  we  plane  up  a  felloe  on  one  side, 
always  picking  the  best  of  the  two  sides  as  a 
rule.  The  side  which  we  plane  up  first  will  be 
the  front  or  face  side,  and  must  be  planed 
straight  and  true  ;  this  you  will  ascertain  by 
placing  your  trial  and  jack-plane  on  the  felloe, 
or  with  the  straightedge  and  square.  When 
you  have  planed  the  felloe,  place  upon  its  face 
the  pattern,  and  mark  all  round  as  far  as  you 
are  able.  Next  we  fix  the  felloe  in  the  vice, 
and  mark  down  the  back  and  front  with  the 
pencil,  and  square  from  the  bevel  line  which  we 
marked  at  each  end  of  pattern ;  we  get  our  fine 
saw,  and  saw   down  these   lines ;  saw  all  the 


felloes  this  way  ;  we  afterwards  chop  the  backs 
down  to  the  pencil  line.  In  chopping  the  backs, 
keep  applying  your  square  from  the  front  face 
side,  or  you  might  make  a  mistake,  and  take  too 
much  off,  thus  making  the  one  side  smaller 
than  the  other. 

We  now  pare  the  inside,  or  belly;  this  we 
shall  have  to  do  with  our  adze  and  felloe-block. 
There  are  two  kinds  of  blocks :  one  is  the  shape 
of  a  wheeler's  trestle,  with  the  two  back  legs 
high,  and  the  front  legs  very  short;  another 
block  is  a  large  piece  of  hard  wood,  oak  or  ash, 
2  feet  square,  and  not  less  than  8  inches  thick ; 
on  the  top  edge,  it  is  gouged  and  bevelled  out, 
so  as  to  place  the  felloes  resting  upon  the  bevel 
of  block.  A  piece  of  wood  is  wedged  between 
the  side  of  felloe  and  the  block  (Fig.  11),  to 
keep  them  tight  and  immovable  whilst  the 
wheeler  is  paring  them  out  with  his  adze.  But 
an  amateur  need  not  go  to  the  expense  and 
trouble  of  getting  a  block,  as  he  can  fix  the 
felloe  in  the  vice  with  the  inside  or  belly 
upwards ;  he  must  then  take  his  square,  and 
mark  from  the  inner  line,  which  is  on  the  face 
of  felloe,  across  the  end  or  joint ;  then,  with  his 
2-inch  chisel  and  lump  hammer,  he  can  pare 
down  to  the  pencil  line.  If  the  felloes  are  old 
and  dry,  be  careful  that  they  do  not  splinter. 
In  sawing  and  chopping,  be  sure  always  to 
have  your  square  at  your  side,  and  apply  it 
from  the  face  side  as  you  go  on,  which,  as  a 
matter  of  course,  should  always  be  so  indicated  by 
marking.  When  all  insides  of  the  six  felloes  have 
been  planed  with  a  round  plane  (the  back  need 
not  be  planed),  we  take  each  felloe,  and  place  it 
in  position,  each  felloe  being  upon  the  tangs 
or  tenons  of  two  spokes,  and  each  joint  meeting 
in  the  centre  between  two  spokes  ;  if  they  do 
not  fit  up  to  the  shoulders  of  the  spokes,  we 
shall  have  to  bevel  a  little  off  the  end  of  a  felloe 
until  the  felloes  come  up  to  the  shoulders,  and 
meet  all  round.  We  will  suppose  we  have  all 
our  felloes  resting  upon  the  tenons,  and  fitting 
up  to  the  shoulders,  and  if  there  should  be  a 
little  space  between  the  joints,  it  will  not 
matter;  in  fact,  the  joints  should  be  open  a 
little  at  the  outside.  Now,  with  a  sharp  pencil 
mark  the  two  sides  of  tenon  upon  the  felloe ; 
this,    mind    you,    is    marked    underneath    the 


WHEELS  FOR  HAND-CART. 


50.5 


felloes,  not  on  the  face.  "We  next  number  the 
felloes  ;  the  two  first  spokes  should  have  a  cross 
or  mark,  or  be  numbered,  to  denote  that  they 
fit  in  their  respective  felloes,  as  each  felloe  will 
only  fit  on  its  own  spokes ;  so  do  not  forget  to 
number  them  in  the  order  in  which  they  come. 

We  now  come  to  marking  the  joints  out  for  the 
dowels.  This  marking  should  be  done  after  the 
tenons  have  been  marked  out,  and  before  the 
felloes  are  disturbed.  This  line,  which  we  are 
about  to  mark  out,  will  enable  us  to  see,  when 
boring,  in  what  direction  the  dowels,  which 
connect  the  joints  of  the  felloes,  go.  The  pencil 
line  across  the  joints  should  be  exactly  at  the 
centre  of  felloe ;  this  will  be  about  1J  inches,  or 
thereabouts.  Mind  you,  it  is  only  the  centre  of 
joint  we  want.  Place  your  rule  or  staff,  and 
mark  across  the  joints  and  face  of  felloe  the 
length  of  a  dowel.  After  we  have  marked  out 
all  the  joints,  we  take  a  felloe  off,  and  with  our 
square  mark  down  on  the  inside  or  belly,  and 
back  from  the  two  lines  which  we  previously 
marked,  when  the  felloe  was  resting  upon  the 
tenons;  square  the  inside  and  back  of  all  the 
felloes  in  this  way.  We  now  get  our  gauge, 
and  set  it  half  the  width  of  the  felloes,  so  that 
it  comes  in  the  centre;  this  will  be  \\  inches, 
or  thereabouts ;  for,  of  course,  we  must  allow 
for  planing.  We  mark  between  the  two  pencil 
Hues  on  the  inside  and  back  of  felloe ;  also  mark 
across  the  end  of  felloe  from  the  side.  We 
now  mark  again,  from  the  back,  across  the  end 
of  the  felloe  ;  thus,  where  these  two  lines  inter- 
sect, there  we  shall  bore  our  dowel  hole.  When 
we  have  finished  marking  out  with  the  gauge, 
we  get  our  1-inch  bit,  and  bore,  by  means  of  the 
brace,  or  with  a  handle  fixed  on  the  bit,  used 
the  same  as  an  auger,  mortises  in  the  felloes  for 
the  tenons  ;  whatever  we  use,  we  only  bore  half 
way  through  the  felloe  ;  bore  the  inside  or  belly 
first,  and  be  sure  that  you  bore  within,  and  in 
the  directions  the  lines  run;  place  the  felloe 
upon  the  trestle  when  boring,  or  in  the  vice,  but 
you  will  have  to  stand  over  it,  or  you  will  have 
no  power  in  boring.  When  we  have  bored  all 
our  mortise  holes,  we  place  the  felloe  in  the 
vice,  and  bore  with  |-inch  bit  in  the  direction  of 
the  mark  which  we  marked  out  on  the  face, 
across  the  joints  ;  bore  down  If  inches,  as  our 


dowels  will  be  3  inches  long,  J  inch  thick,  round 
iron.  Some  wheelers  prefer  wooden  dowels, 
made  of  oak,  but  I  consider  iron  dowels  the 
best ;  but  if  oak  dowels  should  be  used,  they 
will  have  to  be  f  inch  thick. 

After  we  have  bored  all  the  dowel  holes,  we 
commence  to  dress  the  felloes  off.  Looking  at 
the  one  before  us,  the  width  and  breadth  will  be 
almost  equal ;  so  we  round  the  top  front  edge, 
first  with  the  draw-knife,  then  finish  off  with 
the  spokeshave,  and  file  round  this  front  edge, 
from  one  end  to  the  other.  But  not  so  with  the 
back ;  this  is,  in  some  cases,  only  dressed  out 
between  the  spokes,  leaving,  as  it  were,  a 
hump,  which  the  back  of  spoke  fits  upon.  In 
finishing,  we  generally  file  the  edge  of  this 
hump  a  little,  just  to  take  the  sharp  edge  off,  so 
that  it  is  more  uniform  with  the  other  part  of 
back  ;  so  please  note  that  the  outer  top  edge  is 
dressed  out  different  from  the  back.  But  if  you 
will  look  around  you,  and  notice  any  wheels, 
especially  hand-made  ones,  you  will  see  more 
for  yourself  in  a  few  minutes  than  I  could 
describe  to  you  in  an  hour. 

We  now  consider  the  strength  of  the  hoops 
which  are  to  go  upon  our  wheels.  We  will 
suppose  that  they  are  to  be  If  inches  wide  ;  so 
we  set  our  gauge  f  inch  mark  from  each  side  on 
the  back  of  felloe.  After  we  have  gauged  all 
our  felloes,  we  get  our  axe,  and  chop  down  to 
the  gauged  out  line.  We  now  get  our  jack- 
plane,  and  plane  down  to  the  line;  you  do  not 
plane  the  sides  of  the  felloes  all  over,  but  only 
just  so  that  you  get  them  smooth  (see  Fig.  12). 

We  are  now  ready  for  fixing  the  felloes  upon 
the  spokes,  but  before  doing  so,  we  fix  our 
dowels  in  their  places.  Gret  each  felloe  in  your 
hand,  with  the  back  towards  you,  and  bear  in 
mind  to  drive  the  dowels  in  right-hand  side,  so 
that  there  is  no  mistake  in  two  dowels  meeting, 
as  they  are  not  so  easy  to  get  out  when  once  they 
are  fixed  in.  You  must  now  take  hold  of  No.  1 
felloe,  and  fix  it  upon  the  two  spokes,  marked  to 
correspond ;  then  fix  the  felloe  about  \  inch 
on  the  tenon,  or  just  so  that  it  will  hold  until 
you  have  the  other  felloes  fixed  the  same.  Now 
get  a  little  paint  or  boiled  oil,  and  rub  it  upon 
the  dowels  and  tenons,  to  facilitate  in  knocking 
the  felloes   together ;   knocking  these  together 


506 


WHEELS  FOR  HAND-CART. 


would  be  easy  enough,  were  it  not  for  the 
dowels  being  in  the  way ;  we  knock  the  felloes 
together  until  the  dowels  catch  the  opposite 
joint.  We  have  now  to  humour  each  dowel  and 
joint  until  we  get  the  dowel  end  in  the  mortise ; 
after  that  we  go  on  to  the  others,  and  get  them 
in  place  by  knocking  the  felloe  near  the  spoke 
ends.  When  all  the  dowels  fit  in  the  opposite 
joints,  we  knock  the  felloes  together  up  to  the 
shoulder.  To  an  amateur,  this  is  nearly  the 
most  difficult  part  of  wheel-making,  for  it 
requires  a  great  deal  of  patience,  as  when  one 
part  is  right,  another  is  apt  to  go  wrong; 
but  by  perseverance  you  will  overcome  this 
difficulty,  and  get  all  the  felloes  right  up  to  the 
shoulders  of  the  spokes ;  if,  however,  the  felloes 
are  tight  at  the  joints,  and  do  not  go  quite  up  to 
the  shoulders,  saw  a  little  out  of  the  joint 
until  it  does ;  in  doing  so,  mind  your  saw 
against  the  iron  dowel,  or,  if  of  oak,  mind  you 
do  not  saw  in  it.  If  the  joints  should  only 
touch  at  the  inner  side,  and  a  little  open  at  the 
backs,  it  will  not  matter,  as  some  wheelers 
consider  wheels  to  be  stronger  this  way. 

We  can  now  fix  the  wheel  in  the  frame,  whilst 
we  wedge  the  felloes,  or  this  can  be  done  on  the 
trestle.  These  wedges  will  be  made  from  the 
oak  which  we  sawed  off  the  ends  of  the  spokes  ; 
make  them  2  inches  long,  nearly  1  inch  wide, 
and  at  its  thickest  part  J  inch,  tapering  down  to 
a  feather  edge.  Get  your  f-inch  chisel,  and 
drive  in  the  end  of  spoke;  then  drive  your 
wodge  in.  Some  -wheelers  saw  the  tenons,  and 
pare  a  little  out  to  show  the  saw  mark ;  this  is 
done  before  the  felloes  are  driven  on  the 
spokes.  In  driving  the  wedges,  be  sure  you  go 
at  right  angles  with  the  edge  of  the  wheel,  and 
not  in  the  direction  of  the  rim;  knock  the 
wedges  in  all  round  first,  then  commence  driving 
them  home,  occasionally  hitting  the  felloe  near 
the  spokes;  avoid  hitting  the  joints  if  you 
possibly  can,  as  I  have  seen  them  fly  off, 
although  we  have  to  hit  them  sometimes  to  let 
the  dowel  fit  better,  or  ease  itself.  Next,  saw 
the  ends  of  the  spokes  and  wedges  off  level  with 
the  back  of  the  felloes  ;  then  gauge  down  \  inch 
lower  than  the  back  of  the  felloe;  plane  the 
joints  to  level  them  at  the  backs.  After  we 
have  planed  the  joints  at  the  back,  just  where 


the  tyre  or  hoop  fits,  we  sandpaper  and  dust  our 
wheels  off,  and  givethem  a  coatof  priming  colour, 
before  sending  to  the  smiths.  As  you  perhaps 
know,  the  hoop  is  made  smaller  than  the  rim  of 
wheel,  for  when  it  is  heated  it  expands,  and 
when  cold  it  contracts  upon  the  wheel,  and  in  its 
contraction  draws  all  the  felloes  close  up  at  the 
joints,  and  the  open  spaces  at  the  back  of  the 
joints  become  closed.  A  tyre-smith  generally 
hoops  a  lot  of  wheels  together ;  for  this  purpose, 
he  has  a  hooping  stove  or  furnace  ;  but  if  he 
should  have  a  set,  or  a  pair,  of  small  wheels 
which  require  hooping,  he  has  a  hooping  hearth. 
Wheelers  in  towns  make  provision  accordingly, 
as  the  old-fashioned  way  of  heating  tyres  is 
dangerous  in  hot  weather  and  upon  windy  days  ; 
but  there  are  a  great  many  people  who  still 
follow  old  plans,  especially  in  country  places. 

I  will  not  tire  you  any  further  by  explaining 
how  they  hoop  the  wheel,  or  the  different  mean's 
and  ways  whereby  the  hooping  of  wheels  is 
facilitated,  but  will  show  you  how  to  finish  the 
wheel  off  after  it  has  left  the  smith's  hands.  If 
you  will  notice,  you  will  see  that  the  rim  is 
charred  and  smoked  near  the  hoop ;  get  your 
paring  chisel,  and  pare  any  pieces  which  stick 
up  ;  level  the  rim  a  little  all  round,  then  smooth 
with  the  smoothing-plane,  using  the  iron  thumb- 
plane  near  the  tyre  or  hoop  ;  next  use  the  spoke- 
shave,  and  file  to  the  joints  ;  next  use  the  scraper 
and  sandpaper,  and  file  the  face  and  back  of  rim. 
In  those  places  where  the  wheels  have  been 
smoked,  we  rub  some  knotting  or  gold  size  ; 
otherwise,  if  we  painted  upon  the  charred 
places,  the  paint  would  never  dry  ;  in  a  few 
hours  the  size  will  be  quite  dry,  so  we  just 
paint  over  the  parts  which  we  have  been 
dressing  off. 

We  now  commence  to  bush  the  wheel.  Lay 
the  wheel  down  with  the  front  of  the  nave  upon 
a  block,  and  get  your  compasses,  and  measure 
the  diameter  of  the  back  of  bush  ;  strike  a  circle 
in  the  centre  of  nave  ;  also  measure  the  diameter 
of  the  front  of  the  bush,  and  strike  a  circle  on 
the  front  of  the  nave.  We  now  get  our  ^-inch 
bit  and  brace,  and  bore  within  these  circles  half- 
way, and  meet  at  the  other  side  ;  when  boring 
from  the  back  of  the  nave,  keep  the  brace 
towards  the   rim   of   wheel,   and  when  boring 


WHEELS  FOR   HAND-CART. 


507 


from  the  front,  let  the  brace  be  straight.  We 
now  get  our  bushing  chisel ;  this  is  made  all  of 
iron,  15  inches  long,  J  thick,  \\  broad;  it  is  in 
the  shape  of  a  gouge ;  of  course,  the  cutting 
end  is  steel ;  we  use  this  chisel  until  we  have 
got  the  hole  half-way  through ;  we  then  work 
at  the  other  side.  We  now  fix  our  bush  in  the 
nave  from  the  back ;  if  the  bush  is  too  tight, 
get  some  paint ;  when  the  bush  is  withdrawn, 
this  will  show  where  the  bush  catches.  When 
fixing  the  bush  in  the  nave  for  good,  place  a 
piece  of  deal  across  the  back  of  the  bush,  which 
is  apt  to  break  if  you  hit  it  with  your  heavy 
hammer ;  rather  let  the  bush  fit  in  easy  than 
tight.  Tou  can  now  run  your  pencil  round  the 
top  of  the  bush,  thus  marking  the  inside  of  the 
nave ;  this  line  is  to  show  us  how  far  we  are 
to  cut  down,  so  that  our  linen-pin  fits  in  the 
arm.  We,  therefore,  use  our  bushing  chisel  and 
J  chisel,  and  make  the  cap-hole  ;  this  is  generally 
3  by  2  inches,  and  is  struck  out  by  the  com- 
passes before  the  bush  is  put  in.  We  now  make 
a  lot  of  oak  wedges,  3  inches  long,  1  inch  broad, 
or  as  broad  as  the  chisel  you  make  the  wedge 
hole  with,  and  \  inch  thick  at  the  top,  running 
down  to  a  nice  featheredge  ;  knock  the  back  of 
the  bush  down  within  \  inch  from  the  back  of  the 
nave,  or  it  can  be  level ;  get  your  cold  chisel,  and 
make  some  wedge  holes  \  inch  in  the  nave,  from 
and  all  round  the  bush.  Now,  before  we  begin  to 
wedge,  we  make  a  trammel  of  ash  or  any  hard 
wood ;  it  is  so  easily  made,  that  it  needs  no 
explanation ;  wheelers  have  a  variety  of  them, 
because  they  do  not  fit  every  bush,  although  one 
will  do  for  two  or  three  sizes.  In  fixing  the 
straightedge  in  the  trammel,  be  sure  to  fit  it  in 
so  that  it  will  work  stiffly.  We  now  fix  our 
trammel  (Fig.  13),  the  shoulder  resting  upon 
the  bush,  and  be  careful  in  setting  the  bush  in 
the  centre  of  the  wheel,  or  it  will  "  wobble  " 
when  running.  If  this  bush  is  set  in  the  nave 
true,  the  trammel  will  touch  the  rim  of  the 
wheel  all  round ;  but  if  it  only  touches  in 
certain  places,  we  shall  have  to  knock  in  our 
wedges,  thus  pushing  the  nave  more  to  the 
opposite  side.  When  a  few  wedges  have  been 
put  in  the  back,  put  some  in  the  front,  but  keep 
trying  with  your  trammel,  and  when  it  touches 
the  rim  from  both  sides  of  the  nave,  then  the 


bush  is  set  perfectly  true  ;  allowance  must  be 
made  in  cases  where  the  smith,  in  hooping  the 
wheel,  has  not  had  the  same  facilities  as  a  town 
smith,  for  unless  the  hoop  is  upon  the  felloes 
perfectly  true,  it  would  be  impossible  to  get  the 
trammel  to  touch  only  in  some  places.  After 
we  have  finished  wedging,  cut  the  tops,  and 
bevel  off  with  the  back  of  the  nave. 

We  now  get  our  noggs  cut  out  of  the  nave  ; 
that  is,  if  it  be  cart  fashion ;  saw  a  piece  out 
from  the  front  of  the  nave  up  to  the  bevel  with 
the  face  of  the  bush.  If  there  should  be  a  crack 
or  split  upon  the  face  of  the  nave,  the  wheeler 
generally  cuts  the  nogg  out  just  where  this 
crack  is.  Put  the  wheel  upon  the  axle  or  arm, 
and  see  if  you  can  get  your  linch-pin  in  its 
place  ;  if  so,  get  a  piece  of  ash  the  same  size  as 
the  hole  which  we  have  just  sawn ;  plane  this 
up  a  little,  and  knock  it  in  its  place ;  this  will 
be  a  little  difficult  at  first,  but  when  you  have 
got  it  to  fit  right,  get  your  draw-knife  and 
spokeshave,  and  shape  it  down  to  the  nave 
(Fig.  14).  These  noggs  are  only  put  in 
cart-fashioned  naves ;  coach-fashioned  naves 
have  a  linch-pin  hole  simply,  nogg  not  being 
required.  The  iron  fret  comes  over  where  the 
nogg  would  fit  in  (Fig.  15),  whilst  other  naves 
have  a  hole  bored  through,  just  for  a  cotter  or 
linch-pin  to  be  dropped  in  the  arm.  We  now 
stop  all  the  cracks  and  joints  with  putty,  and 
finish  off  our  hand-cart  wheels  (Fig.  16)  with 
two  coats  of  paint. 

At  this  concluding  stage  you  will  be  the  grati- 
fied possessor  of  a  pair  of  wheels  of  your  own 
make,  and  perhaps  you  will  desire  to  complete 
them  thoroughly  by  lining  them  to  accord  with 
the  striping  of  your  hand-cart.  It  will  require 
considerable  practice  to  do  this  satisfactorily, 
but  you  will  be  able  to  purchase  brushes  proper 
for  the  purpose,  and,  possessed  of  these,  you 
will  no  doubt  be  successful  if  you  go  to  work 
carefully,  and  persevere  until  proficient. 


A  Polish  that  will  stand  hot  dishes  is  made 
as  follows  : — 1  pint  of  linseed  oil  simmered  (not 
boiled)  for  ten  minutes  ;  strain  through  flannel, 
and  add  \  pint  turpentine  ;  apply  this  daily  with 
a  soft  rag,  and  rub  off  lightly. —  Carpenter  and 
Builder. 


508 


SIMPLE    ORNAMENTAL    TURNING. 


SOME  CHAPTERS  ON 
SIMPLE  ORNAMENTAL  TURNING. 

By  J.  L.  DWYER. 


VI. — Turning  Shallow  Box— Process  of  Ornament- 
ing— Turning  Reel  Stand. 

NOW  propose  to  go  through,  the 
manufacture  of  the  pieces  of  work 
shown  in  the  engravings  1  to  4.  I 
may  mention  that  it  is  very  convenient  to  have 
three  or  four  little  face-plates,  about  4  inches  in 
diameter,  to  which  pieces  of  wood  could  be 
glued. 

Fig.  1  shows  a  shallow  box  and  its  cover. 
Two  pieces  of  wood  are  required,  one  for  the 
box,  1  inch  thick  and  4  inches  in  diameter  ;  that 
for  the  cover  is  \  inch  thick.  Cocus-wood,  or 
rosewood,  or  partridge,  or  any  other  fancy  hard 
wood  is  suitable.  The  pieces  are  glued  to  the 
little  face-  plates  the  night  before. 

The  piece  for  the  cover  is  first  screwed  on 
the  lathe,  the  edge  turned  roughly,  and  the 
recess  to  fit  on  the  box  is  turned  out.  That 
piece  may  then  be  taken  off  the  face-plate. 
The  other  face-plate,  with  piece  for  box  stuck 
on,  is  then  screwed  on  the  lathe,  and  a  rough 
outline  is  given  to  the  box;  the  hollow  is  turned 
out,  and  a  rim  that  will  fit  the  cover  is  formed. 
The  edge  of  the  box  may  then  get  a  finishing 
touch,  and  be  moulded,  as  shown  in  the  edge 
view,  Fig.  1.  There  is  first  a  bead,  £  inch 
wide  ;  then  a  flat  hollow,  £  inch  wide  ;  then  an 
elevated  ring,  f  inch  wide  ;  then  another  hollow, 
Jf  inch  wide ;  and  then  the  rim,  about  J-  inch 
wide,  making  up  the  entire  inch.  The  cover  is 
put  on,  and  its  edge  is  turned  with  a  bead  and 
a  little  flat,  and  the  top  surface  is  turned 
flat.  The  edge  of  box  and  cover  are  then  like 
Fig.  46. 

The  lathe  band  may  now  be  taken  off,  the 
fluting  cutter  put  into  the  slide-rest,  with  its 
spindle  horizontal,  and  the  band  from  fly-wheel 
connected  by  means  of  overhead  motion.  A  tool 
like  Fig.  36,  but  with  the  point  slightly  flattened, 
is  put  in  the  fluting  cutter,  the  index  pointer  is 
put  into  the  first  hole  of  row  144,  and  the  cutter 
is  brought  to  take  a  good  cut  off  the  jilain  pro- 
jecting piece,  a,  Fig.  46.  The  cutter  takes  a 
circular    piece  out    of   the  j  wood.      The  index 


pointer  is  now  put  into  hole  24,  and  another  cut 
is  taken.  If  there  is  a  sharp  edge  between  the 
two  flutes,  the  index  pointer  may  be  put  on  to 
48,  and  so  on,  until  there  is  a  complete  number 
of  flutes  round  ;  but  if  there  is  a  small  flat  space 
between  the  flutes,  a  deeper  cut  should  be  taken 
till  the  edge  is  quite  sharp.  It  may  be  seen  in 
Fig.  2  how  the  flutes  meet  one  another. 

It  may  be  noticed  that  here  no  stops  are 
requisite,  for  it  can  be  easily  seen  when  the  tool 
takes  the  entire  breadth  of  the  piece,  a,  and  the 
tool  may  be  stopped,  or  may  revolve  in  the  spaces 
at  either  side  while  the  work  is  turned  round. 
But  care  should  be  taken  not  to  move  the  cross- 
slide  handle  of  the  slide-rest  until  the  complete 
circle  of  flutes  is  finished. 

We  now  take  out  the  fluting  cutter,  and  put 
in  the  eccentric  one,  as  in  Fig.  5  ;  put  in  a  pointed 
V  tool,  give  it  \  inch  eccentricity,  and  arrange 
it  so  that  it  just  escapes  the  centre  of  the  top  of 
box.  Then  we  drive  lathe,  having  index  pointer 
at  zero  of  144,  and  take  a  cut  (i.e.,  cut  a  circle) 
as  deep  as  we  consider  necessary.  We  then 
put  a  stop  on  slide-rest,  and  move  pointer  on  to 
12,  and  take  a  second  cut.  If  the  cuts  go  into 
one  another  without  leaving  any  flat  between, 
we  may  go  on  skipping  11  every  time,  until  the 
complete  round  of  circles  is  finished.  This  will 
be  the  centre  piece  of  Fig.  1.  The  outer  edge 
is  done  in  the  same  way,  except  that  there 
are  48  circles  instead  of  12,  which  is  done  by 
putting  the  pointer  into  every  third  hole  in 
the  index  plate. 

When  the  top  is  ornamented,  a  rub  of  a  hard 
brush  with  a  drop  of  oil  will  polish  it  up  nicely. 
The  box  may  now  be  knocked  off  the  face-plate, 
and  a  little  cut  off  the  under  side,  to  take  off  the 
glue,  will  finish  the  job.  It  is  usual  to  ornament 
the  inside  of  the  cover  as  well  as  the  outside, 
and  in  this  case  it  may  be  done  before  it  is 
taken  off  its  face-plate.  Engine  turning,  like 
the  backs  of  most  watches,  could  be  done  by 
making  the  circle  large  enough  to  reach  from 
the  centre,  or  near  it,  almost  to  the  edge.  The 
circles  should  be  close  together,  say  one  for  each 
hole,  in  the  144  circle. 

Fig:.  2  is  a  disc  for  a  reel  stand.  The  outside 
is  fluted  as  Fig.  1,  except  the  flutes  are  not  at 
right  angles  to   the  surface,  which  is  done  by 


METAL-  TURNING. 


509 


slewing    the    slide-rest    round     a    bit,    as   in 
turning  cones. 

The  shell  pattern,  shown  inside,  is  done  with 
the  tool,  Fig.  37.  A  series  of  circles  is  cut,  six 
in  number,  by  going  into  every  twenty-fourth 
hole  of  144.  Then  the  eccentricity  of  the  tool 
is  decreased,  and  by  means  of  the  slide-rest 
handles  the  tool  is  drawn  so  that  the  two  circles 
coincide  at  one  point,  and  a  series  of  circles  is 
cut  to  that  size,  going  into  the  same  holes  as 
before.  Then  the  eccentricity  is  further  de- 
creased, the  tool  is  brought  so  that  this  circle 
corresponds  in  one  point  with  the  other  circles, 
aud  a  series  is  cut  all  round,  and  so  on,  until 
only  a  point  remains.  In  fact,  a  shell  consists  of 
a  series  of  circles  decreasing  in  diameter,  and 
touching  one  another  internally  in  the  same 
point. 

I  make  the  circles  decrease  uniformly  by 
turning  the  screw  in  the  eccentric  cutter  just 
once  for  each  decrease. 

The  dots  seen  are  made  by  bringing  the  tool 
to  the  centre,  and  putting  the  index  pointer  into 
■holes  12,  36,  60,  etc.,  half-way  between  the  shells. 
They  are  simply  to  mark  where  standards  come 
for  the  reels  to  stand  on.  Of  course,  in  all  this 
work,  stops  must  be  used  to  prevent  the  tool 
going  in  too  far. 

And  here  I  may  remark  on  the  extreme  handi- 
ness  of  these  attachments.  When  I  want  to 
make  hexagon  nuts,  I  put  a  bar  in  the  drill 
chuck,  turn  the  end  and  the  length  of  two  or 
three  nuts  ;  then  I  put  the  index  pointer  at  1  of 
144,  file  a  flat  on  top  of  the  bar,  holding  the  file 
horizontally;  then  I  move  round  to  24,  file 
another  flat,  and  so  on.  When  I  come  to  the 
last,  the  hexagon  is  usually  perfect. 

So,  in  drilling  the  holes  for  engine  cylinder 
covers,  I  can  mark  them  at  once,  four,  five, 
or  any  number.  The  other  day  I  slotted  a 
long  bar  of  steel  with  the  eccentric  cutter  by 
putting  the  bar  of  steel  between  centres,  and 
clamping  it  so  that  it  could  not  revolve.  Then 
putting  a  flat-pointed  drill  in  the  cutter,  I 
clamped  it  in  the  slide-rest,  and  moved  it 
parallel  to  the  bar,  so  that  it  cut  a  beautiful  slot. 

I  have  said  enough  now,  I  think,  about  the 
work  on  Figs.  1  and  2.  I  will  reserve  Figs.  3 
and  4  for  the  next  paper. 


METAL-TURNING. 

By  A   FOREMAN  PATTERN-MAKER. 


VI.— Mandrel-turning  —  Wooden  Mandrels  —  Solid 
Iron  Mandrels  —  Conical  Centres  —  Conical 
Mandrel — Mandrel  for  Turning  Brasses. 

N  this  article,  I  want  to  dispose  of  all 
that  I  can  say  about  turning  proper, 
meaning  by  that  the  operation  of 
plain  external  surfaces  in  the  lathe,  before  pass- 
ing on  to  other  kindred  matters,  as  boring, 
screw-cutting,  etc. 

The  subject  of  mandrel-turning,  though  little 
noticed  by  writers,  is  nevertheless  of  much 
importance  in  the  workshop.  In  most  cases, 
the  reason  why  mandrels  are  used  is  this :  In 
work  of  considerable  length,  or  of  considerable 
diameter,  that  has  to  be  both  bored  and  turned, 
and  also  to  run  true  at  a  high  speed,  it  ensures, 
as  a  rule,  greater  accuracy  to  bore  first  and  turn 
afterwards,  than  to  reverse  the  process.  If  a 
wheel  or  a  pulley  is  bored  and  turned  at  one 
setting  on  the  face-plate,  the  chances  are  in 
favour  of  their  running  out  of  truth  when  put 
on  their  shafts,  because  it  is  so  easy  to  let  the 
drill  or  boring  tool  spring  a  little,  and  if 
the  hole  is  out  of  truth  to  a  very  minute  extent, 
the  rim  being  so  much  farther  from  the  centre, 
will  show  very  much  more  out  of  truth  than  the 
hole  when  running.  It  is  equally  difficult  to 
bore  a  hole  through  a  long  cylindrical  liner  or 
bush,  and  to  turn  the  outside  true  at  the  same 
setting ;  so  the  custom  is  to  bore  the  hole  first, 
and  then  slide  it  over  a  mandrel,  and  turn  the 
outside.  These  are  two  typical  cases  of  a  large 
quantity  of  work  that  is  bored  in  the  first  place, 
and  turned  during  a  second  chucking  upon  a 
mandrel. 

Mandrels  are  usually  made  of  metal,  but  not 
invariably  so.  For  very  thin  bushes,  as  for  other 
classes  of  work,  those  of  wood  areoften  preferable. 
They  cost  a  mere  nothing,  can  be  turned  down 
very  readily  to  size,  and  there  is  considerable 
friction  between  the  surface  of  the  wood  and 
the  metal.  In  case  of  a  slack  fit,  also,  moistening 
the  surface  of  the  wood  makes  it  tighter  imme- 
diately. These  wood  mandrels  are  particularly 
useful  in  the  turning  of  light  castings  and 
forgings.     Fig.  21  shows  a  little  brass  dome,  a, 


510 


ME  TAL-  TURNING. 


for  a  model,  which  is  most  easily  turned  and 
polished  on  a  wood  mandrel,  b,  the  mandrel 
being  in  this  case  driven  into  a  cup  chuck,  c, 
without  using  the  pinching  screws. 

Fig.  22  shows  a  chimney  base,  a,  for  a  model, 
also  chucked  on  a  wooden  mandrel,  b,  for 
turning  and  polishing. 


shown  in  Pig.  24.  These  accumulate  in  large 
numbers  in  various  sizes,  as  they  have  been 
turned  down  from  wrought  iron  or  steel  bars  at 
various  times  to  suit  different  classes  of  work. 
The  reason  for  shouldering  them  is  two-fold : 
first,  in  order  to  utilise  the  same  bar  for  several 
different  diameters ;  and  second,  it  is  sometimes 


PI 


FIG. 28. 


Fig.  23  shows  another  wooden  mandrel,  upon 
which  a  metal  bush,  previously  bored,  is  driven, 
to  be  turned  on  the  outside.  This  is  also  a 
convenient  way  to  chuck  iron,  copper,  or  brass 
tube  for  squaring  off  the  ends,  as  in  model 
boilers,  or  for  cutting  fine  threads  next  the  ends 
for  the  purpose  of  screwing  flanges  on,  or  for 
parting  tube  off  into  short  lengths  of  separate 
rings.  There  is  no  risk  of  splitting  the  tube  in 
driving  it  over,  and  the  friction  of  the  wood  and 
metal  is  very  considerable. 

The   typical   form  of   solid   iron   mandrel   is 


convenient  to  be  able  to  drive  an  article  like  a 
thinnish  ring,  for  example,  a  in  the  figure,  up 
to  a  shoulder  to  keep  it  steady  when  opposed  to 
the  pressure  of  the  tool,  b,  in  the  figure,  merely 
shows  the  lathe  carrier  embracing  one  end  of 
the  mandrel. 

Even  when  turning  the  bosses  of  levers  of 
various  kinds,  it  is  often  easier  to  make  use  of 
a  solid  mandrel  than  to  turn  the  bosses  with  the 
tail  of  the  lever  bolted  to  the  face-plate.  Thus, 
for  example,  the  lever,  a,  in  Fig.  25,  has  been 
bored,  and  is  driven  over  the  mandrel,  and  now 


ME  TAL-  TURNING. 


511 


both  bosses  can  be  turned  and  faced  without 
any  risk  of  their  not  being  true  with  one 
another. 

Because  solid  mandrels  must  be  turned  to  the 
precise  diameter  required,  and  thus  accumulate, 
causing  expense  and  inconvenience,  various 
devices  are  made  use  of  to  lessen  these  evils. 

Fig.  26  shows  a  pair  of  conical  centres,  a  and 
b,  which,  though  they  cannot  in  strictness  come 
under  the  head  of  mandrels,  nevertheless  fulfil 
the  same  function  to  a  limited  extent.  A  clear 
idea  of  proportion  and  method  of  fitting  and  use 
can  be  gathered  from  the  figure,  and  the  centres 
can  be  made  to  suit  any  lathe.  Their  shanks 
fit  the  taper  holes  in  the  mandrel  nose,  o,  and  in 
the  poppet  mandrel,  d,  respectively.  The  work, 
e,  is  pinched  between  the  cones  by  thrusting  the 
poppet  mandrel  forward.  Owing  to  the  conical 
form  given  to  a  and  b,  the  work,  e,  supposing 
the  hole  to  be  bored,  and  the  ends  faced  true,  is 
centred  by  the  self- adjusting  property  of  the 
cones.  The  friction  of  the  front  cone,  a,  is 
sufficient  to  hold  the  work  fast,  and  drive  it. 
The  poppet  cone,  b,  is  lubricated,  so  that  the 
work  may  .  revolve  upon  it.  These  cones  are 
useful  for  turning  long  bushes,  or  for  cutting  off 
piping,  and  for  screwing  the  outsides  of  thin 
tubes  in  the  lathe.  Work  as  long  as  the  lathe  will 
carry  can  be  turned  upon  these.  This  is  useful 
for  taking  light  cuts  only,  and  for  chasing 
screw-threads  on  tubing.  To  do  heavy  work, 
the  tube  must  be  embraced  at  the  left-hand  end 
in  a  grip  chuck,  instead  of  being  centred  over 
the  cone. 

A  form  of  self-contained  conical  mandrel, 
more  suitable  for  short  work,  or  work  of  only 
moderate  length,  is  shown  in  Fig.  27.  One  cone, 
a,  is  formed  in  the  solid  with  the  shanked  and 
screwed  portion,  b  ;  the  other  cone,  c,  is  bored 
to  fit  over  the  shank,  b,  and  can  be  slid  along  it, 
and  tightened  with  the  nut,  d,  against  the 
work.  The  latter,  e,  a  pulley  in  the  figure, 
having  been  first  bored  and  faced,  is  pinched 
between  the  cones  truly  concentric  while  the 
outside  is  being  turned.  "When  turning  large 
wheels  and  pulleys  on  mandrels,  the  work  is 
apt  to  slip.  In  such  cases  it  must  be  driven 
rather  more  tightly  on  the  mandrel,  and  light 
cuts  only  be  taken. 


Of  what  are  termed  expanding  mandrels,  I 
cannot  write  specially  here.  There  are  several 
forms :  Barlow's,  and  those  made  by  the 
Britannia  Company.  I  can  recommend  the 
latter,  from  having  seen  it  in  use  for  several 
years,  but  space  forbids  now  to  explain 
its  construction,  or  to  illustrate  its  range  of 
usefulness. 

A  form  of  mandrel  that  does  not  centre 
automatically,  but  in  which  rough  work  not 
bored  is  centred  approximately  for  turning,  is 
shown  in  Fig.  28.  a  is  a  solid  spindle, 
shouldered  at  one  end,  and  screwed  at  the 
other.  Two  loose  discs,  b  and  c,  fit  over  the 
spindle ;  one  bears  against  the  shoulder  of  a, 
the  other  is  slid  along  and  pinched  against  the 
face  of  the  work,  d,  with  the  nut,  e.  A  washer, 
f  (in  this  case  a  short  length  of  tube),  is  inter- 
posed between  the  nut  and  the  plate,  c.  The 
particular  piece  of  work  in  the  figure  is  a  pair 
of  brasses.  They  are  divided  longitudinally, 
and  at  the  time  of  chucking  are  neither  bored, 
turned,  nor  faced.  They  are  set  concentrically ; 
and  to  afford  sufficient  friction  to  enable  the 
plates  to  hold  against  the  rough  surfaces  of  the 
castings,  bits  of  brown  paper  packing  are 
inserted  between  the  faces  of  the  plates,  b  and 
c,  and  the  flanges  of  the  brasses,  e.  While  held 
in  this  way,  the  outside  of  the  body  that  fits 
into  the  plummer  block  seating  and  the  outside 
of  the  flanges  are  turned. 

There  are  two  ways  of  fitting  brasses  :  one, 
when  they  are  bored  in  position  in  their 
plummer  blocks,  either  on  a  boring  machine,  or 
with  a  lathe  tool ;  then  the  plan  shown  in 
Fig.  28,  or  one  similar  in  principle,  is  usually 
adopted.  But  when,  as  is  frequently  the  caBe, 
the  brasses  are  bored  first,  and  turned  after- 
wards, then  the  method  shown  in  Fig.  29  is 
selected.  In  the  latter  case,  a  solid  mandrel,  a, 
turned  to  the  bore  of  the  bored  brass,  is  used, 
and  the  brasses,  b,  embraced  upon  it  with  a 
band,  c.  The  object  of  the  band  is  to  clip  the 
two  half  brasses  together.  The  band  must  be 
slid  from  one  portion  to  another,  in  order  to 
allow  of  each  portion  being  turned  in  succession. 
The  same  result  would  be  obtained  by  sweating 
the  two  halves  together,  and  driving  them  on 
the  mandrel,  as  though  cast  in  one  piece. 


512 


REVOLVING   BOOK  CABINETS. 


REVOLVING  BOOK  CABINETS 

AND  HOW  TO  MAKE  THEM. 
By  CLERWUS  SECUNDUS. 


IV. —  Step  Arrangement  of  Revolving  Cabinet  — 
Revolving  Cabinet  with  Turned  Pillars  and 
with  Desk  Top. 

,HE  revolving  book  cabinet,  arranged 
for  various  sized  volumes,  is  shown 
^fflU  at  Fig.  20.  This  has  the  merit,  such 
as  it  is,  of  being  quite 
original;  it  is  an  attempt 
to  do  away  with  waste 
of  space,  at  least,  in  a 
measure,  and  such  an 
arrangement  redeems 
the  somewhat  stiff  ap- 
pearance of  the  cabinet 
as  a  whole.  The  cabinet 
thus  arranged  will  take 
in  volumes  of  the  follow- 
ing sizes  :  — (a)  up  to 
demy  12mo ;  (b)  up  to 
demy  8vo  ;  (<i)  up  to 
super  royal  8vo  ;  (d)  up 
to  royal  4to. 

For  clearness  of  de- 
scription, a  given  dimen- 
sion must  perforce  be 
decided  on ;  but,  of 
course,  each  amateur 
must  adapt  the  arrange- 
ment according  to  the 
size  and  number  of  his 
volumes. 

Having  classified  his  books  according  to  size, 
and  decided  how  many  shelves  he  will  need,  he 
must  proceed  to  prepare  the  framework.  Let 
him  ascertain  the  breadth  of  the  widest  volume, 
and  what  height  is  needed  to  comfortably 
accommodate  the  "tallest"  of  them;  then  let 
him  cut  his  framework  into  "  steps  "  (see  Fig. 
21)  ;  the  height  required,  plus  1  inch,  regulates 
the  height  of  each  step  ;  and  the  width  needed, 
by  the  size  of  the  volumes,  decides  the  distance 
from  the  front  of  the  step  to  the  back. 

Let  us  now  return  to  our  sample  cabinet, 
whose  shelves  will  accommodate  nearly  all  sorts 
and  sizes  of  books  in  general  use. 


fig.  26. — cabinet  complete. 


The  dimensions  of  the  framework  are  clearly 
indicated  in  Fig.  21.  It  must  be  of  1  inch  wood, 
the  vertical  dotted  lines  in  Fig.  21  showing 
where  the  next  frame  is  to  be  fastened.  In 
this  instance  the  "core"  is  7}  inches  square. 
Apart  from  this,  the  putting  together  of  the 
frame  is  exactly  the  same  as  is  described  in  our 
first  article.     (See  Figs.  1  and  2). 

The  wood  for  the  shelves  need  not  be  more 
than  +  inch  thick,  but  there  must  be  two  sets  of 
each  size.  We  shall  then 
require  for  our  present 
cabinet  eight  pieces  of 
each  of  the  following 
sizes:  1 9|  x  111  inches, 
17|  x  9|  inches,  15 £  x  7£ 
inches,  13^x5J  inches. 
The  extra  J  inch  over 
the  breadth  shown  on 
the  framework  is  to 
allow  the  shelf  to  come 
flush  with  the  front  of 
the  bars  or  fretwork. 

As,  in  this  instance, 
bars  are  supposed  to  be 
used,  each  shelf  must 
be  cut  at  the  end 
similarly  to  Fig.  22, 
which  is  a  diagram  of 
the  top  shelf.  The  bars 
are  fitted  into  the  re- 
cesses which  are  cut 
out,  the  bars  and  the 
spaces  between  them 
being  equal. 
This  would  be  a  comparatively  simple  matter 
if  we  were  content  to  close  up  the  end  of  each 
shelf  with  the  bars,  as  the  width  of  each  shelf 
would  only  have  to  be  divided  by  seven,  which 
would  give  four  equal  bars  and  three  equal 
spaces.  But  it  is  such  an  improvement  to  the 
appearance  of  the  cabinet  to  mask  the  edge  of 
the  framework  by  means  of  the  bars,  that  it  is 
worth  while  taking  a  little  extra  trouble.  The 
space  covered  by  the  bars  must  equal  the  breadth 
of  the  shelf,  plus  1  inch,  the  thickness  of  the 
frame.  Hence  the  width  of  the  shelf  being 
given,  and  the  inch  being  added,  it  is  this 
result  which  must  be  divided  by  seven. 


REVOLVING  BOOK   CABINETS. 


513 


5U 


REVOLVING  BOOK  CABINETS. 


In  the  cabinet  before  us,  the  spaces  to  be 
covered  in  are  6 \,  8£,  10£,  and  \1\  inches 
respectively.  In  the  case  of  the  top  shelf  (see 
Fig.  22),  the  last  bar  falls  completely  behind  the 
shelf,  being  less  than  1  inch  broad,  which  is  the 
thickness  of  the  frame.  This  bar  must,  of 
course,  be  fastened  to  the  frame.  "With  the 
other  shelves  this  will  not  be  the  case,  for  the 
bars  being  wider,  the  last  one  will  more  than 
cover  the  edge  of  the  framework,  and  be  par- 
tially fastened  to  the  end  of  the  shelf. 

Should  any  difficulty  be  experienced  in  ascer- 
taining the  exact  width  of  each  set  of  bars,  the 
following  method  will  solve  the  difficulty :  Take 
a  piece  of  drawing  paper  or  cardboard  of,  say, 
18  inches  square,  draw  a  line  near  the  bottom, 
and  on  this  line  set  off  seven  equal  spaces  of  any 
convenient  size.  They  should  not,  however,  be 
less  than  2  inches,  as  the  bottom  bars  are  nearly 
If  inch  wide.  From  your  starting-point  on  the 
line  draw  a  line  exactly  perpendicular,  and  to 
any  convenient  height.  Draw  lines  from  the 
top  of  this  perpendicular  to  each  point  of  inter- 
section on  the  line.  You  then  have  a  figure,  of 
which  Fig.  24  is  a  representation,  drawn  to  the 
scale  of  2  inches  to  the  foot.  Now  find  the 
point  at  which  this  Fig.  is  the  exact  width  of 
the  space  to  be  covered  by  the  bars,  and  at  these 
points  draw  lines  parallel  to  the  bottom.  In  this 
case  lines  must  be  drawn  where  the  Fig.  is  6£, 
8J-,  10 J,  12  J  inches  wide.  Each  of  these  lines 
is  cut  into  seven  equal  parts,  the  spaces  being, 
of  course,  the  width  required  for  the  bars. 

If  this  contrivance  is  not  familiar  to  the 
reader,  he  had  better  store  it  away  in  his 
memory-box,  as  he  will  find  it  useful  for  other 
purposes  than  for  finding  the  widths  of  bars  of 
eccentric  dimensions. 

The  lengths  of  the  bars  must  be  as  follows  : — 
8|,  10,  12,  and  14  inches,  sixteen  of  each  size. 

The  top  and  bottom  of  the  cabinet  must  now 
be  prepared  as  in  the  former  instances,  the  top 
in  this  case  being  1  9J  inches  square,  and  the 
bottom  31J  inches  square.  Then,  having  pre- 
pared the  thirty -two  shelves,  and  the  bottom  of 
the  cabinet  being  securely  fastened  on,  the 
shelves  must  be  fixed  at  the  heights  indicated 
by  the  horizontal  dotted  lines  in  Fig.  21.  It  will 
be  seen  that  there  are  two  shelves,  one  lying  on 


the  other,  screws  or  glue  (or  both)  being  used  to 
make  them  one.  It  will  be  found  more  con- 
venient, at  least  in  the  case  of  the  shelves 
proper,  to  do  this  before  fixing  them  in  their 
places.  It  will  be  seen  that  the  two  shelves  to 
be  stuck  together  are  of  different  sizes.  They 
must  be  fastened  flush  at  the  back  and  right- 
hand  end,  the  lower  one  will  then  project 
2  inches  in  front  and  to  the  left. 

Now  fix  one  set  of  the  largest  shelves  to  the 
already  fixed  bottom  of  the  cabinet,  screwing  or 
glueing  as  before  suggested.  The  three  tiers 
above  must  then  be  fixed  at  the  points  indicated 
by  the  dotted  lines  (Fig.  21),  and  fixed  on 
ledgers,  if  that  be  the  method  selected.  One 
set  of  shelves  will  remain  (one  of  the  smallest), 
and  this  must  be  fixed  with  its  upper  surface 
flush  with  the  top  of  the  framework.  The  top 
of  the  cabinet,  which  in  size  should  exactly 
coincide  with  the  shelves  just  fixed,  may  then 
be  fixed  to  them.  Observe  that  the  dotted  lines, 
shown  at  the  top  and  bottom  of  Fig.  21,  refer 
to  the  shelves,  not  to  the  top  and  bottom  of  the 
cabinet.    The  latter  do  not  appear. 

The  bars  must  now  be  fixed  to  the  shelves, 
which  form,  so  to  speak,  the  roof  and  flooring 
of  each  compartment.  To  hide  up  all  the  joins 
and  screws  along  the  front  of  each  shelf,  it  is 
proposed  to  glue  thereon  a  strip  of  -|  inch  wood, 
similar  to  Fig.  23,  which  is  a  diagram  of  the 
strip  needed  for  the  top  shelf.  Each  successive 
strip  will  have  to  be  4  inches  longer  than  the 
last  (the  width  remaining  the  same),  and  be 
carefully  mitred  at  the  corners. 

A  1  inch  moulding  or  beading,  glued  along 
the  edge,  to  hide  the  line  of  junction,  etc., 
will  add  a  nice  finish  to  the  shelves,  but  is,  of 
course,  optional  with  the  worker.  The  above- 
mentioned  strip,  however,  is  a  necessity. 

Should  the  amateur  decide  upon  using  squares 
of  fretwork  instead  of  bars,  the  only  change  he 
will  have  to  make  will  be  to  cut  his  shelves 
£  inch  shorter  than  the  lengths  given,  no 
recesses  at  the  ends  being  in  that  case  neces- 
sary. Four  squares  of  fretwork  of  each  of  the 
following  sizes  will  be  wanted : — 8J  x  6J  inches, 
10  x  8|  inches,  12  x  10J  inches,  14  x  12£ 
inches. 

The  fixing  of  the  moulding  at  the  top,  and  the 


REVOLVING   BOOK  CABINETS 


515 


skirting  board  at  the  bottom,  as  well  as  the  re- 
volving apparatus,  have  already  been  described. 

"We  now  reach  the  final  and  most  important 
modification  in  the  structure  of  our  cabinet,  and 
one  which  will  give  our  wood-turning  friends  a 
chance  of  distinguishing  themselves.  It  will  be 
a  rather  more  expensive  job  than  the  others,  as 
all  the  non-revolving  portions  ought  to  be  made 
of  one  of  the  more  valuable  woods ;  but  apart 
from  this,  it  should  be  regarded  with  favour. 

As  will  be  seen  on  examining  Fig.  26,  the 
cabinet  proper  revolves  behind  four  turned 
pillars,  the  latter  supporting  a  reading  desk, 
which,  of  course,  does  not  revolve  with  the 
book-shelves  below.  The  advantages  of  this 
arrangement  are  too  manifest  to  need  ex- 
planation. 

First,  then,  make  your  cabinet  according  to 
one  of  the  patterns  already  described,  Fig.  20 
being,  perhaps,  the  least  appropriate ;  then  turn 
four  pillars,  or  get  them  turned  for  you. 

The  diameter  of  these  pillars  is  a  matter 
of  taste.  Those  shown  in  Fig.  26  may 
be  deemed  heavy,  but,  personally,  I  like 
good  stout  pillars.  These  are  about  4  inches 
in  diameter,  but  any  size,  down  to  2h  inches 
(I  should  not  advise  less),  will  answer 
the  purpose.  If  the  cabinet  be  of  the  size 
described,  the  pillars  must  be  4  feet  1  inch 
long.  This  includes  the  square  pieces  at  each 
end.  These  might  be  separate,  which  would 
reduce  the  pillars  to  3  feet  5  inches ;  but  they 
will  be  so  much  stronger  in  one  piece,  that  the 
amateur  is  advised  to  have  them  so  if  at  all 
possible.  Now  get  eight  pieces  of  1  inch  wood, 
4  inches  wide  and  2  feet  3  inches  long  ;  this  will 
allow  1  inch  at  each  end  for  the  tenon.  These 
must  be  mortised  into  the  square  ends  of  the 
pillars  top  and  bottom,  being  set  back  J  inch 
from  the  corner  (see  Fig.  27). 

The  feet  which  form  the  stand  must  (sup- 
posing the  pillars  to  be  3i  inches  in  diameter) 
be  3  feet  5  inches  long,  which  will  allow 
\\  inches  for  the  tenon  at  each  end.  The 
thickness  of  the  wood  can  be  1\  inches,  and  the 
back  corner  of  the  bottom  of  each  pillar  must 
be  cut  away  until  it  presents  a  surface  of 
%\  inches,  and  the  end  of  the  foot  must  then  be 
mortised  into  it. 


The  height  of  the  stand  wdl  depend 
somewhat  upon  the  revolving  apparatus  em- 
ployed, as  it  is  necessary  that  the  bottom 
of  the  cabinet  should,  when  revolving,  just 
clear  the  skirting  boards  which  bind  the 
pillars  at  the  bottom.  Decide  then  upon  the 
apparatus,  and  having  fitted  it  all  up,  place  the 
cabinet  in  position.  Now  nail  ledgers  along 
the  inside  of  the  planks,  which  are  mortised 
into  the  tops  of  the  pillars,  and  which  form  the 
sides  of  the  desk.  These  ledgers  must,  of 
course,  be  fixed  as  near  the  bottom  as  possible. 
Then  joint  up  some  \  inch  wood,  to  make  a 
bottom  for  the  desk ;  this  must  be  2  feet 
5  inches  square,  with  a  notch  2  inches  each 
way,  cut  out  of  each  corner  (see  Fig.  28).  This 
might  now  be  dropped  in,  and  fastened  down, 
but  it  will  add  to  the  smoothness  of  the  cabinet's 
revolution  if  a  counterpart  of  the  revolving 
apparatus  be  supplied  for  the  top.  Procure, 
then,  two  pieces  of  brass  tube,  and  two  flanges 
similar  to  those  described  in  connection  with  the 
revolving  apparatus,  and  screw  the  tubes  tightly 
into  the  flanges.  Fix  the  larger  of  the  two 
exactly  in  the  centre  of  the  top  of  the  cabinet, 
passing  the  tube  downward  into  the  core  of  the 
framework,  and  screwing  the  flange  face  down- 
ward on  the  top  of  the  cabinet ;  then  screw  the 
smaller  flange  on  the  under  side  of  the  bottom 
of  the  desk,  exactly  in  the  centre.  Now  slide 
the  smaller  tube  into  the  larger,  and  if  the 
cabinet  be  exactly  perpendicular,  and  the  tubes 
truly  central,  the  bottom  will  exactly  fit  in  be- 
tween the  sides  of  the  desk  ;  screw  it  down  to  the 
ledgers,  and  the  cabinet  should  revolve  smoothly. 
It  is  not  absolutely  necessary  that  these  flanges 
should  be  in  contact,  but  it  is  advisable  that  the 
pivot  tube  should  be  filled  by  a  wooden  spindle, 
which  latter,  indeed,  might  with  advantage  be 
long  enough  to  pass  through  the  bottom  of  the 
desk,  and  be  glued  to  it. 

Our  next  business  is  with  the  desk  top. 
Procure  four  strips  of  \  inch  wood,  If  inches 
wide  and  2  feet  9£  inches  long.  Mitred  at  the 
corners,  and  fixed  on  the  top  of  the  desk  sides, 
they  should  be  flush  with  the  inside,  and  project 
outside  all  round  §  inch.  Pound  off  the  lower 
outer  angle,  and  fasten  with  glue  and  screws. 
Now  prepare   the   desk   top.      This  may  with 


516 


REVOLVING   BOOK  CABINETS. 


advantage  (so  far  as  appearance  goes)  be 
\\  inches  thick ;  it  should  be  2  feet  9£  inches 
square.  Mould  the  edge  in  some  such  way  as 
Fig.  22,  and  then  hinge  on  to  one  of  the  strips 
of  wood  just  fixed,  seeing  to  it  that  the  hinges 
are  broad  enough  for  the  screws  to  enter  the 
sides  of  the  desk,  and  not  simply  the  above- 
mentioned  strip.  The  hinges  must  be  let  into 
the  wood  and  into  the  desk  top,  so  that  the 
latter  may  lie  close  all  round,  the  joint  of  the 
hinge  being  flush  with  the  outside  of  the  strip 
(see  Fig.  29). 

If  preferred,  the  desk  top  may  be,  say,  2  inches 
more  each  way,  so  as  to  project  1  inch  all 
round,  beyond  the  strip  (see  Fig.  30).  If  a 
rest,  to  prevent  the  book  from  slipping  off,  is 
deemed  essential,  the  following  is  a  simple  way 
of  obtaining  one: — 

Make  a  rebate  in  the  upper  part  of  the  desk 
top,  as  indicated  by  the  dotted  lines  in  Figs.  26 
and  29.  It  may  be  1  inch  wide,  and  must  be 
\  inch  deep.  Then  procure  a  strip  of  wood 
to  exactly  occupy  the  rebate,  and  hinge  it  on, 
letting  the  hinges  both  into  the  strip  and  desk 
top,  so  that  when  closed  it  may  lie  quite  flat, 
and  when  raised  appear  as  at  a,  in  Fig.  30. 

We  must  now  provide  for  keeping  the  desk 
top  raised.  Make  a  frame  like  Fig.  31,  and 
hinge  to  under  side  of  desk  top,  so  as  to  allow 
the  frame  to  fold  away  under  the  top  (when 
closed),  whether  towards  the  front  or  back  of 
the  desk  is  immaterial,  only  the  hingeing  must 
be  done  accordingly. 

Now  make  two  racks,  like  Fig.  32,  and  fix  to 
the  bottom  of  the  desk  ;  they  must,  of  course,  be 
fixed  close  to  the  sides  of  the  desk,  and  need  not 
extend  to  more  than  half  its  breadth.  Should, 
however,  the  amateur  wish  to  utilise  the  desk 
space  by  fixing  a  drawer  therein,  this  racking 
business  must  be  managed  otherwise,  it  being 
essential,  in  that  case,  that  the  bottom  of  the 
desk  be  kept  clear.  Cut  away  the  strip  which 
lies  under  the  desk  top  for  j  inch  from  the  inner 
edge,  and  for  a  length  of  14  inches;  then  cut 
the  rack  in  that  part  of  the  desk  side  which 
is  thus  laid  bare  (see  Fig.  33). 

The  frame  to  keep  up  the  desk  top  must  be 
of  £  inch  wood,  and  2  feet  6£  inches  long — hare 
(i.e.,  the  breadth  of  the  desk  plus  the  width  of 


the  two  racks),  so  that  when  the  desk  top  is 
down,  this  frame  may  lie  close  down  to  the  rack 
in  the  space  formerly  occupied  by  the  strip  ;  its 
width  is  immaterial,  say  1 J  inches.  It  must  be 
hinged  on  the  off  side,  the  hinges  being  let  into 
it  and  into  the  desk-top,  or  the  latter  will  not 
shut  down  close. 

Reference  to  Fig.  26  will  show  a  contrivance 
for  holding  a  lamp,  an  inkstand,  etc.  The  wood 
(say  1  inch  thick)  being  cut  in  some  such  shape 
as  that  shown,  a  hinge  or  hinges  are  screwed 
to  the  end  of  the  "shank,"  and  to  the  inner 
surface  of  the  desk  side.  The  stand  will  then 
fold  away  into  the  desk.  There  may  be  one 
on  either  side  of  the  desk,  but  if  a  drawer  is 
decided  upon,  a  piece  will  have  to  be  cut  out 
of  the  side  of  the  drawer,  1  inch  deep  and  the 
width  of  the  shank,  to  admit  of  the  latter  being 
folded  away. 

I  trust  none  of  my  readers  will  expect  me  to 
tell  them  how  to  make  the  drawer,  for  in  that 
case  they  will  be  disappointed.  I  refrain  from 
doing  so  for  a  whole  variety  of  sufficient  reasons, 
one  of  which  is  that  I  do  not  know  how  myself, 
or,  rather,  I  know  no  more  of  the  modus  operandi 
than  any  other  "  constant  reader"  of  Amateur 
Woke  may  learn  by  studying  the  description  of 
any  article  of  furniture  therein  described,  and 
of  which  drawers  form  a  part.  This  being  so,  I 
am  sure  that  the  Editor  will  agree  with  me  that 
space  in  the  columns  of  "Ours"  is  much  too 
valuable  to  be  taken  up  by  the  repetition  of  oft- 
told  tales  ;  and  having  said  my  say  re  revolving 
cabinets,  I  beg  to  retire,  and  make  way  for 
other  subjects. 


To  Make  Wax  Floweks. — Use  purest  virgin 
white  wax  ;  a  little  Venice  turpentine  is  added 
to  render  it  ductile.  It  must  be  melted  in 
enamel  ware  ;  when  leaves  are  to  be  made,  a 
little  spermaceti  may  be  added.  To  bleach 
beeswax,  melt  the  wax,  and  put  into  it  sodium 
nitrate  in  the  proportion  of  1  oz.  to  1  lb.  of  wax  ; 
add  by  degrees  2  ozs.  of  sulphuric  acid,  diluted 
with  ten  times  its  weight  of  water.  Keep  the 
wax  warm,  and  stir.  After  a  short  time,  fill  up 
with  hot  water,  and  allow  the  whole  to  cool. 
Wash  with  water,  to  remove  any  nitric  acid 
stains. — Scientific  American. 


"AMATEUR    WORK"   PRIZE   SCHEME. 


517 


AMATEUR      WORK 

PRIZE    SCHEME. 

XVII. — A  Prize  of  One  Guinea  is  offered  for  the 

BEST  SPECIMEN  OF  WOOD  CARVING. 

R  UL  B  S. 

(1).  All  articles  Bent  in  for  competition  must  be  the  work 
of  bond  fide  amateurs  ;  and  by  an  amateur  is  meant 
a  workman  who  does  not  earn  money  by  the  par- 
ticular class  of  work  in  which  he  competes. 

(2).  All  articles  in  this  competition  must  be  received  not 
later  than  Sept.  29th,  carriage  paid,  and  addressed 
— The  Editok  of  Amateur  Woek,  Warwick  House, 
Salisbury  Square,  London,  E.C. 

(3).  Each  article  must  bear  the  name  and  address  of  the 
competitor,  and  the  number  of  the  competition  for 
which  he  enters. 

(4).  Competitors  desiring  the  return  of  their  articles 
must  enclose  an  addressed  label.  If  the  article 
is  to  be  returned  by  parcel  post,  the  label  must 
be  fully  stamped ;  if  by  rail,  the  name  of  the 
Railway  Co.  should  be  stated  on  the  label.  Every 
care  will  be  taken,  but  the  Editor  does  not  hold 
himself  responsible  for  articles  sent  in. 

(5).  The  prize  may  be  withheld  if,  in  any  competition,  less 
than  three  competitors  enter. 

(6).  The  decision  of  the  Editor  shall  be  final. 


RESULT    OF    COMPETITION, 
xv. 


XV. — Prizes  of  One  Pound  and  Ten  Shillings,  re- 
spectively, FOR  THE  TWO  BEST  SPECIMENS  OF 
Fretwork,  sent  in  by  lads  under  the  age  of  IS 
years. — There  are  among  amateurs  a  certain  few 
who — themselves  preferring  plain  joinery  before 
any  fanciful  treatment  of  wood — look  upon  fretwork 
especially  as  very  light  fare  indeed,  and  say  that  it 
is  mere  trifling  with  material.  It  appears  to  them 
to  be  work  which  anyone,  by  the  exercise  of 
patience,  and  lacking  more  profitable  employment, 
can  do ;  but  they  lose  sight  of  the  fact  that  carpentry 
sometimes  calls  for  more  physical  strength  than 
many  possess,  or  care  to  exert.  They  cannot  con- 
ceive that  the  worker  may  find  satisfaction  in  light 
employment  if  he  be  unable  to  undertake  the 
heavier  and  more  laborious  processes. 

Xow,  if  the  crux  of  carpentry  does  not  happen  to  lie  in 
fretsawing,  yet  there  are  good  lessons  to  be  learnt 
from  it — that  is,  if  the  amateur  only  will  recognise 
and  benefit  by  them.  Not  the  least  important  lesson 
it  teaches  ia  the  need  for  accuracy  and  good  finish, 
and  fretwork,  however  simple,  I  maintain  is  always 
worth  doing  well ;  and  whether  the  operator  make 
his  own  designs,  or  whether  he  adapt  published  ones, 
such  mistakes  as  incongruity  of  detail  must  b? 
guarded  against,  and  a  good  tracing  of  outline  upon 
the  wood  be  always  held  indispensable,  if  he  would 
have  an  infallible  guide  for  his  saw  to  follow. 


I  am  very  well  pleased  with  the  fruit  borne  in  the  present 
competition,  and,  takiDg  the  specimens  collectively, 
I  find  the  general  quality  of  the  work  good,  which 
is  evidence  that  the  younger  portion  of  Amateur 
Work's  subscribers  find  interest  in  our  magazine. 
There  are  a  few  pieces  among  the  specimens  which 
bear  signs  of  slovenly  and  hurried  execution,  and 
to  the  senders  of  those  I  give  this  counsel.  Never 
dismiss  as  completed  your  work  if  it  bear  such 
disqualifications  as  deviation  from  outline,  or  ragged- 
ness,  and  want  of  sharpness  where  lines  meet  or 
intersect  ;  the  slight  trouble  attention  to  these 
points  costs,  is  amply  compensated  for  when  it  is 
considered  that  conscientious  finish  enhances  the 
value  of  work.  These  admonitions  only  apply  to  a 
few  specimens — the  majority,  as  I  have  already 
intimated,  are  good  ;  but  by  far  the  best  one  is  a 
bracket  bearing  a  couple  of  shelves  and  a  mirror 
— this  work  is  worthy  of  a  place  upon  the  walls  of 
either  drawiug-room  or  boudoir.  To  the  maker  of 
this  bracket,  H.  Balls,  4,  High  Mill  Road,  South- 
town,  Great  Yarmouth,  I  award  the  prize  of  One 
Pound  for  his  excellent  piece  of  work.  I  append 
the  testimony  as  to  age  sent  by  his  guardian. 

4,  High  Mill  Road,  Southtown, 
Great  Yarmouth. 

July  28th,  1891. 

To  the  Editor  of  "  Amateur  Work,  Illustrated." 

Sir, — I  beg  to  testify  that  H.  Balls  is  17  years  of  age, 
August  28th,  1891,  and  is  apprenticed  to  a  bookbiuder, 
ruler,  etc.,  learning  the  whole  of  the  branches.  The  work 
was  done  at  home  in  evenings  and  mornings,  siuce  Part  32 
of  Amateur  Work  was  published.  I  am  a  bookbinder, 
etc.,  myself,  and  the  competitor  works  with  me.  I  have 
Amateur  Work  from  the  beginning,  both  Old  and  New 
Series,  and  between  us  we  find  it  a  most  useful  book  in 
many  things,  and  should  be  sorry  to  be  without  it. 
Yours  truly, 

ClIAS.    A.    RuMBOLD, 

Guardian  of  the  lad,  H.  Ball. 

It  happens  in  the  present  competition  that  the  merit  of  the 
remainder  of  the  specimens  is,  in  a  wide  degree, 
inferior  to  the  best  one  ;  but  there  is  one  well  worthy 
of  recognition,  executed  in  a  careful  manner  by  a 
lad  13J  years  of  age.  To  the  maker  of  this,  C.  H. 
Steele,  Woodhouse,  St.  Marychurch,  Torquay,  I 
award  the  sum  of  Five  Shillings,  being  one  half  of 
the  amount  of  the  second  prize,  because  I  think  that 
youthful  endeavour  deserves  encouragement,  I 
append  the  attestation  of  this  boy's  father. 

Woodhouse, 

St.  Marychurch,  Torquay. 
Dear  Sir, — I  certify  that  this  key-rack  is  the  unaided 
work  of  my  son,  who  is  13J  years  of  age. 

Yours  truly, 

H.  K.  Steele. 
July  28th,  1891. 

The  quality  of  the  specimens  remaining,  after  disposing  of 
the  above  two,  doe3  not  justify  me  in  preferring 
one  to  another.  I  therefore  withhold  the  remaining 
portion  of  the  second  prize. 

VOL.    III.    (N.S.) — S   8 


518 


NOTES   ON  NOVELTIES. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


'HE   TEACHERS'  HANDBOOK    OF   SLOJD. 
— George  Philip   and   Son,   32,  Fleet  Street, 
London,   E.C.     For   the   benefit   of   those   to 
whom  the  term  Slojd  is  strange,  I  may  briefly 
here  mention  that  it  is  the  name  given  to  a  Swedish  system 
of  children's  education,  the  characteristic  of  which  is  the 
introduction  of  some   kind  of  manual  labour  or  physical 
employment  intervening  with  and  giving  diversion  from 
the  hours  devoted  to  intellectual  instruction.     It  takes  the 
form  of  work  executed  in  such  materials   as   wax,  clay, 
cardboard,  or  wood,  and  its  object  is  to  ensure,  by  means 
of  healthy  exercise,  the  development  of  the  pupil  in  certain 
definite  directions,  such  as  pleasure  in  labour,  a  feeling  of 
respect   for    occupation,  habits  of   independence,  order,  and 
accuracy,  increase  of  physical  strength,  development  of  the 
power  of  observation  and  dexterity  in  the  hand,  all  of  which, 
if   I   am   not   mistaken,   tend  to  a  perfect  balance  of  the 
mental  powers.     I  believe  "  wood  Slojd"  to  be  the  more 
popular  study,  as  it  deals  with  a  most  suitable  material, 
and  under  that  head  are  comprised  several  kinds  of  work, 
among  which  Slojd  carpentry  is  the  one  best  adapted  to 
the  mental  and  physical  capacity  of  children.     Respecting 
this  branch  of  Slojd,  as  with  others,  it  is  obviously  impera- 
tive that  a  teacher  to  obtain  best  results  should  possess  not 
only  dexterity  to  enable  him  to  demonstrate  to  his  pupils 
the  use  of  tools  and  their  proper  application,  but  he   must 
also  control  his  skill  so  that  it  be  not  exerted  solely  in 
display,  but  have  for   prime   aim   the   education  of    the 
children  placed  in  his  charge.    The  book  is  translated  from 
the  Swedish,  and  if  evidence  of  its  origin  is  discernible,  it 
must  be  laid  to  the  fact  that  Slojd  is  not  yet  an  Anglicised 
institution.     The  book  is,  however,  a  most  useful  one  for  a 
teacher,  both  whilst  he  is  undergoing  a  preparatory  course 
at  the  bench,  and  when  be  is  facing  his  pupils  ;  and  particu- 
larly it  might  be  used  with  advantage  by  the  amateur,  as 
he  also  sometimes  performs  simple  work  satisfactorily  with 
simple  tools  when  severely  practical  professional  carpentry 
would  mystify  him,  although  a  simple  method  of  educa- 
tion  in   constructive    principles    such  as  this  book   gives 
would  be  appreciated  by  him.      The  price  of  the  book  is  6s. 
The  Electrician  Primers,  Vols.  I.  and II. — The  Electrician 
Printing   and    Publishing    Company,   Limited,    Salisbury 
Court,  Fleet  Street,  London,  E.G.   The  contents  of  each  one 
of  these  volumes  is  of  that  quality  and  description  which 
at  once  constitute  a  book  a  welcome  addition  to  the  library 
of  the  student  or  of  the  artisan.     Each  primer  (there  are 
thirty-eight  in  all)  consists  of  half  a  dozen  or  so  pages  of 
letterpress  and  illustration,  and  treats  of  some  special  or 
ordinary  application  of  electrical  force,  or  of  apparatus  for 
the  generation  or  control  of  that  force.     Every  paper  is 
concisely  written,  and  easy  of  comprehension  to  the  minds 
even  of  those  with  whom  the  study  of  electricity  is  a  new 
departure.     The   thirty-eight   primers  are   bound  in   two 
volumes,  entitled,  respectively,  "Theory    and   Practice"; 
and   complication   of  a  subject   is  avoided   by  a  careful 
employment  of  technical  terms,  and  when  such  a  term  is 


made  use  of,  its  meaning  is  always  made  clear.  These 
books  are  a  handy  source  of  reference  to  those  who  have 
apparatus  under  their  charge,  and  will  help  them  to  attain 
a  perfect  knowledge  of  electrical  science.  The  price 
charged  for  the  volumes,  2s.  each,  will  further  commend 
them  to  popularity. 

The  Mimeograph. — The  Mimeograph  Co. ,  Imdgale  Hill, 
E.  ft  This  is  a  notion  which  owes  its  origin  to  the  pro- 
lific brain  of  Thomas  Edison,  of  phonographic  fame  ;  it  is 
another  copying  machine  of  the  stencil  class,  but  is  to  be 
distinguished  from  others  of  its  kind  by  the  original 
method  i^  introduces  for  the  production  of  the  stencil. 
Instead  of  the  perforation  being  effected  on  the  surfaoe 
of  the  prepared  paper  by  a  stylus,  bearing  either  a  toothed 
wheel,  or  a  needle  actuated  by  some  motive  agency,  the 
punctures  in  the  Mimeograph  process  are  made  at  the 
under  side  by  writing  with  a  round-pointed  stylus  over  a 
plate  of  hard  steel  having  a  finely  corrugated  surface. 
These  corrugations  are  so  minute  as  to  be  imperceptible  to 
ordinary  vision  ;  and  some  idea  of  the  fineness  of  their 
grain  may  be  imagined  when  I  say  that  the  point  of  the 
stylus,  although  as  sharp  as  a  lead  pencil  neatly  pointed, 
yet  covers  three  of  the  cutting  points  on  the  corrugated 
plate.  The  stencil,  when  finished,  is  stretched  in  a  frame, 
and  a  clean  sheet  of  paper  placed  underneath  to  receive 
the  impression,  when  a  charged  roller  is  passed  over  the 
stencil  sheet.  The  minute  and  frequent  punctures  give  a 
line  to  all  intents  and  purposes  equal  to  an  unbroken  one, 
and  this  fact  renders  the  machine  very  useful  for  copying 
sketches,  maps,  or  music.  It  is  claimed  that  3,000  copies 
can  be  made  from  a  stencil  produced  by  this  process,  and 
the  apparatus  further  possesses  an  advantage  that  others 
cannot  offer,  inasmuch  that  it  can  be  used  in  conjunction 
with  a  type-writer  ;  and  this  advantage  at  once  constitutes 
it  a  formidable  rival  to  the  printing  press,  in  the  rapid 
production  of  circulars  or  of  other  small  jobs.  Its  price 
ranges  from  60s.  to  123s. 

The  Optical  Magic  Lantern  and  Photographic  Enlarge?: 
— Woodford,  Fawcett  and  Co.,  Dorset  Works,  Salisbury 
Square,  London,  E.C.  This  interesting  journal  steadily 
maintains  its  character  as  the  organ  of  the  magic  lan- 
ternist  and  the  photographic  enlarger.  The  serial  articles 
that  it  contains  are  of  a  particularly  useful  character 
"  How  I  became  a  Lanternist,"  being  especially  entertain- 
ing, will  be  read  with  interest  by  the  beginner  who  is 
gathering  hints  to  guide  him  in  the  effective  working  of  a 
magic  lantern. 

The  Amateur. — Messrs.  Zilles  and  Co.,  Wilson  Street, 
Fmsbury,  London,  E.  C.  The  August  part  of  this  useful 
magazine  contains  two  folding  sheets,  being  the  detail  of 
construction  for  a  Gothic  Shrine,  or,  as  it  is  called  in  the 
text,  a  "  Gothic  Chapel."  This  shrine  contains  niches  for 
figures,  and  was  no  doubt  originally  intended  for  de- 
votional purposes  ;  but  the  design  could  be  modified  to  suit 
secular  tastes,  by  the  substitution  of  ornament  for  those 
features  which  constitute  the  religious  character  of  the 
article  ;  but  this  must  be  at  the  will  of  the  constructor.  The 
number  likewise  contains  much  other  interesting  matter, 
and  will  be  welcomed  by  the  amateur  who  is  ever  on  the  look 
out  for  something  novel  wherewith  to  stimulate  his  ideas. 


AMATEURS  IN  COUNCIL. 


519 


AMATEURS  IN  COUNCIL. 


OPE  If   TO    ALL   HEADERS. 


Amateur's  Work. 
Oapt.  Obd  writes  : —  "  Some  time 
since,  in  reply  to  my  query,  '  Where  to 
dispose  of  amateur 'b  work  ? '  you  were 
good  enough  to  say  'amateurs  must 
compete  with  professionals  ' ;  but  the 
question  ia,  where  can  amateurs  dispose 
of  their  work,  provided  that  it  is  equal 
to  professionals  ?  If  you  can  answer 
this  question,  you  will  do  me  a  great 
favour.  Another  matter  that  I  want 
to  bring  to  your  notice  is  '  The  Prize 
Competition.'  It  must  tax  your  in- 
genuity to  decide  on  subjects  for  com- 
petition. I  hope  you  will  not  be 
offended  if  1  suggest  that  you  might 
give  us  turners  a  chance  now  and  then. 
If  you  think  the  hint  worth  acting  on, 
I  have  some  specimens  (in  foreign 
hard  woods  not  in  the  trade)  of  inlaid 
work  ;  also  articles  in  brass,  both  useful 
and  ornamental,  that  I  should  like  you 
to  see,  and  1  could  get  some  of  my 
friends  to  send  overhead  ornamental 
work.  If  you  continue  giving  prizes, 
would  not  models  of  cabinet  work,  with 
or  without  turning  combined,  be  a 
simple  method  of  showing  what 
amateurs  can  do  ?  It  would  be  very 
interesting  if  you  illustrated  the  prizes 
in  the  competition ;  but  the  reduction 
in  the  price  of  Amateur  Work  will  not, 
I  am  afraid,  enable  you  to  do  this.  I 
wish  you  had  kept  the  price  6d.,  and 
given  us  more  illustrations  and  more 
articles." 

[In  reply  to  this  correspondent,  I 
should  like  to  point  out  that  profes- 
sional work,  particularly  cabinet  mak- 
ing, is  paid  for  at  so  ridiculously  low  a 
rate  compared  with  the  amount  of 
labour  expended,  that  an  amateur, 
especially  if  he  equal  the  journeyman 
in  quality  of  work,  would  be  dis- 
heartened, and  simply  disgusted.  Of 
course,  there  are  plenty  of  places 
where  trial  might  be  made ;  but  the 
London  Directory  will  tell  more  than 
I  about  that.  If  an  amateur  displays 
excellence  of  workmanship,  there  is 
generally  a  circle  of  acquaintance  who 
delight  to  patronise,  and  would,  no 
doubt,  be  a  means  whereby  to  dispose 
of  such  work.— Ed.] 


Revolving  Book-Cases. 

The  Rev.  Brodie  Mais  writes  : — "  I 
finished  making  the  revolving  book- 
case, after  the  suggestion  of  your  June 
number,  to-day,  and  now  write  you  to 
give  one  or  two  '  tips.'  I  used  some  old 
iron  bed  laths,  three  for  each  side,  in- 
stead of  wood  strips,  punched  the  holes 
for  nails  with  steel  (3d.)  punch.  I  used 
nails  nearly  everywhere.  Made  the 
whole  machine  of  tongued  floor  boards 
I  had  by  me.  Next,  I  have  utilised  the 
waste  centre  spaces.  I  made  five  6-inch 
squares,  and  screwed  them  level  with 
the  shelves  outside,  then  cut  hand 
holes,  one  on  a  different  face,  at  each 
level,  so  that  I  have  four  pigeon-holes 
for  letters,  papers,  or  money.  The 
revolving  I  managed  most  easily  and 


inexpensively.  Four  6d.  brass  roller: 
countersunk  in  the  cross  legs  at  right 
angles  to  each  other  ;  then  a  square 
piece  of  sheet-iron  screwed  on  to  the 
bottom  board  of  the  book-case,  and  it 
turns  easily.  The  other  castors  cost 
Is.  4d.  for  four,  sheet  of  iron  about 
6d.,  but  I  had  that  left  from  a  discarded 
cooking  range.  I  put  a  screw  bolt 
through  from  the  bottom  of  the  legs, 
and  the  nut  inside  the  lowest  pigeon- 
hole. Thanking  you  for  your  good 
hints,  etc.,  etc." 

Vulcanite. 
"W.  Gartside,"  p.  416. — You  can 
obtain  this  from  the  India-rubber, 
Gutta-percha,  and  Telegraph  Wire 
Company,  106,  Cannon  Street,  E.G. 
If  you  tell  them  what  you  require, 
they  will  give  you  prices. — E. 

Photographic  Camera. 
"  J.  L." — Instructions  have  already 
been  given  on  this  subject  in  Vol.  II., 
Amateur  Work,  Illustrated  (Old 
Series).  We  shall  also  publish  shortly 
an  article  giving  instructions  for  the 
making  of  a  portable  camera  with 
bellows  body. 


Vacuum  In  Vessel. 
Amateur. — The  pressure  of  air  npon 
any  surface  is  unaltered  whatever  con- 
ditions exist,  and  you  cannot  create  a 
vacuum  unless  the  construction  of  your 
vessel  is  rigid  enough  to  allow  it  to 
retain  its  shape  after  the  balance  of 
pressure  is  upset.  When  you  obtain  a 
vacuum,  you  have  still  the  material  of 
your  vessel  to  deal  with,  for  the  fact  of 
its  interior  being  void  makes  no  differ- 
ence as  regards  its  gravity  ;  therefore, 
if  you  think  a  little,  you  will  perceive 
that  your  problem  is  ridiculous  and 
impossible.  The  light  fabric  of  a 
balloon  ascends  in  the  denser  fluid  of 
air,  but  only  because  it  contains  the 
lighter  fluid,  hydrogen,  which  proves 
that  natural  laws  must  prevail. 

Magnet  to  Hold  up  100  lbs. 
Amber,  Milford. — Make  a  horseshoe 
electro-magnet  of  the  following  dimen- 
sions : — Yoke  of  soft  iron,  length  7 
inches,  width  1J  inches,  thickness  f 
inch.  In  this  fit  two  legs  of  soft  iron, 
3  inches  in  length  by  J  inch  in  diameter. 
On  these  fit  two  bobbins  of  ebonite,  or 
of  tough  wood,  3£  inches  in  diameter, 
and  fill  them  with  No.  16  cotton-covered 
wire.  This  will  take  about  six  pounds, 
or  three  pounds  on  each  leg.  Two  or 
three  pint  bichromate  cells  will  be  in- 
sufficient. The  cells  should  be  much 
larger  ;  not  less  than  half-gallon  cells 
should  be  used  for  such  heavy  work.  - 
G.  E.  B. 

Small  Medical  Coll. 
Ameer.  Milford. — The  smallest  induc- 
tion coil  you  can  plan  or  make  will  do  as 
well  for  medical  or  shocking  purposes 
as  one  of  the  largest  size.  Large  coils 
in  the  hands  of  amateurs  are  useless  for 
such  a  purpose,  and  may  do  a  deal  of 
harm.  Strong  currents  should  never 
be  applied  except  under  the  direction 
of  a  qualified  electro-medical  prac- 
titioner. Electric  currents  wrongly 
applied  will  do  much  harm  instead  of 
being  beneficial. — G.  E.  B. 

American  White  Wood. 
"J.  M." — American  white  wood,  so- 
called,  is  the  wood  of  the  poplar  tree  ; 
bass  and  similar  woods  are  also  sold 
under  the  same  name. — F.  S.  Morton. 

Brass  Angle  Fittings  for  Box  Corners. 

Amber,  Mil/or/I. — Richard  Melhuish 
and  Son  supply  brass  angle  pieces  and 
all  kinds  of  brass  furniture. 


520 


AMATEURS  IN  COUNCIL. 


Magic  Lantern. 
"  Or.  I."  asks  for  advice  under  the 
following  circumstances  : — "  I  made  a 
magic  lantern  at  the  beginning  of  last 
lantern  season  which  has  never  given 
me  satisfaction.  I  send  a  rough 
diagram  of  the  lantern.  I  use  a  two- 
wick  lamp,  with  the  flat  side  of  the 
wicks  towards  the  condenser.  The 
condenser  is  a  compound  one,  3J  inches 
in  diameter ;  for  a  front  lens  I  used 
the  large  lens  of  a  field-glass  (an  ex- 
pensive one),  7  inch  focus,  and  put  a 
§  stop  close  behind  it.  The  reflector  is 
the  same  size  as  the  condenser.  I  have 
the  first  wick  of  the  lamp  the  focus  of 
the  condenser,  away  from  the  same.  I 
generally  had  the  lantern  8  feet  from 
the  screen,  and  got  about  a  5  feet  disc. 


If  I  have  made  any  mistakes  in  con- 
struction, according  to  above  account, 
will  you  kindly  point  them  out.  I 
should  also  like  to  kuow  about  the 
following  :  Would  the  eye-piece  lens  of 
the  field-glass  do  belter  than  tbe  field 
lens  ?  Should  the  slides,  when  in  the 
carrier,  almost  touch  the  condenser,  or 
be  a  little  away  from  it  ?  I  shall  be 
glad  to  receive  any  information  respect- 
ing the  above  through  the  medium  of 
your  valuable  paper." 
Bicyole. 
"Dabbler"  writes: — "Can  you 
kindly  inform  me  what  size  and  thick- 
ness (B.W.G.)  steel  tubing  would  be 
used  for  the  two  tubes  from  bottom 
bracket  to  ball-head,  two  from  rear 
hub  to  saddle,  and  one  from  saddle  to 
head,  for  a  diamond-frame  safety  of 
30  lbs.  weight,  all  on  ;  and  also  (2), 
what  battery  (size,  composition,  etc.,  of) 
would  be  best  to  use  (I  do  not  mind 
fumes,  but  I  do  elbow-grease)  for 
nickelling,  and  also  what  salt  ?  1  have 
looked  through  the  former  volumes, 
but  have  not  found  what  I  want.  I 
should  like  just  about  half  a  dozen 
lines  of  clear,  concise  directions,  like 
'Electron's'  engine  articles." 


Parian  Statuette  Making. 

"Statuette"  writes:  —  "Having 
read  an  account  of  how  the  Parian 
statuettes  are  made,  I  shall  be  much 
obliged  if  you  will  tell  me,  through 
the  medium  of  Amateur  Wokk, 
whether  what  is  called  '  slip  '  can  be 
bought  or  not,  and  where,  how  it  is 
sold,  and  if  there  are  different  qualities 
of  it.  Has  there  been  any  instruction 
in  Amateuk  Work  on  the  making  of 
Parian  statuettes  ;  if  not,  I  should  be 
glad  of  a  few  hints  on  the  Bubject 
through  '  Amateurs  in  Council,'  as  the 
account  I  read  was  not  a  very  full 
one." 

["  Parian  Statuette  Making "  has 
not  yet  appeared  as  an  article  in  Ama- 
teur Work,  Illustrated. — Ed.] 

Aphengescope. 
"  W.  D.''  writes: — "Could  any  of 
your  readers  give  me,  through  Amateur 
Work,  information  how  to  make  an 
aphengescope,  and  how 
-it-  to  attach  and  use  it  with 
iL  the  lantern  ?  Mr.  Allen, 
in  his  excellent  papers 
on  tbe  magic  lantern,  refers  to  a  box 
with  a  front  lens  ;  but  I  cannot  see 
how  it  is  worked.  Perhaps  he  would 
kindly  give  a  working  sketch  and  a 
little  information  upon  the  subject." 

Removing  Varnish  from  Negatives. 
"Jack  Horner  "  writes  : — "  On  page 
424  of  Amateur  Work  is  giveu  the 
modus  operandi  of  removing  varnish 
from  a  negative.  It  is  very  useful  in- 
formation, and  I  have  frequently  had 
occasion  to  use  it ;  but  allow  me  to  add 
to  it  a  necessary  caution.  Rub  as  little 
as  possible  with  the  cotton  wool,  other- 
wise the  negative  will  be  reduced  ;  in 
fact,  I  have  often  used  methylated 
spirits  and  cotton  wool  for  local  reduc- 
tion when  there  was  no  varnish  on  the 
negative  at  all." 

Paper  Pulp. 
A.  W.  L.  Dixon  wishes  for  informa- 
tion as  follows : — "  Whether  there  is  a 
composition  of  paper  pulp  capable  of 
resisting  the  action  of  boiling  water  ?  " 
He  instances  papier  mache  and  the 
production  of  the  British  Xylonite  Co. 
as  something  of  the  sort  of  material  he 
seeks,  but  which  do  not  quite  fulfil  his 
requirements.  Perhaps  one  of  our 
readers  can  put  him  in  the  way  of 
obtaining  knowledge  of  such  a  com- 
position. 


Dynamo  for   Charging  Accumulators. 

Amber,  Milforrl. — A  shunt  wound 
dynamo,  with  a  six  part  commutator, 
may  be  UBed  for  lighting  incandescent 
lamps  and  charging  accumulators, 
providing  it  does  not  furnish  alternating 
currents,  and  the  electro-motive  force 
of  the  current  is  not  in  excess  of  that 
required  to  charge  the  whole  set  of 
accumulators  when  these  are  arranged 
in  series. — G.  E.  B. 

Odour  of  Paint. 

"  Clericus  Secundus  "  writes : — "  A 
year  last  Christmas  I  made  a  medicine 
cupboard  for  a  relative,  and  painted  it 
inside  with  cream-coloured  paint.  I 
have  recently  learned  that  it  still  smells 
unpleasantly — not  to  say  offensively — 
of  fresh  (?)  paint.  Can  any  reader 
kindly  suggest  cause  and  remedy  ?  " 
Spots  on  Cloth. 

"  Clericus  Secundus  "  asks  : — "  Can 
any  reader  give  a  simple  recipe  for  re- 
moving spots  from  black  cloth — such 
spots  (a  combination  of  oil  and  dust)  as 
an  unfortunate  cyclist  is  bound  to  con- 
tract who  is  denied,  by  'Mrs.  Grundy,1 
the  comforts  of  the  C.T.O.  tweeds?" 
Preserving  Snakes  in  Spirit. 

"Snakes"  writes: — "I  shall  be 
obliged  if  you  will  tell  me,  through 
'  Amateurs  in  Council,'  tbe  simplest 
and  cheapest  way  to  pickle  a  snake  or 
serpent  in  spirits." 

Fountain. 

Bev.  T.  S.  Shaw. — It  is  my  earnest 
desire  to  comply  with  the  wish  of  many 
subscribers  for  an  article  on  the  above 
subject  at  as  early  a  moment  as  pos- 
sible, but  the  capacity  of  our  magazine, 
and  subjects  with  a  prior  claim  to  put> 
lication,  have  precluded  me  from  giving 
effect  to  my  good  intentions. 
Safety  Razor. 

The  Rev.  Brodie  Mais  writes : — 
"In  answer  to  '  Whiskers,'  June,  1891, 
I  have  used  for  a  year  A.  J.  Jordan's 
Star  Safety  Razor,  price  $2  (8s.),  made 
by  Kampfe  Bros.,  New  Ycrk.  I  find 
it  works  very  well,  ashore  or  afloat.  I 
got  it  in  Manchester." 

Subjects  for  "Amateur  Work." 

T.  A.  McKee. — We  are  at  present 
well  supplied  with  MSS.,  but  I  will 
note  your  address,  and  will  write  you 
when  occasion  arise  for  articles. 

LETTERS  RECEIVED  UP  TO  AUG.  10. 
J.  D.  Ackland  ;  A.  B.  Keyworth  ; 
W.  S,  Cook  ;  J.   Swinsdale  ;   R.  Mer- 
ront  ;  "  Constant  Reader,"  Glasgow. 


DESIGN  FOR    CORNER   CUPBOARD    WITH  CURVED   FRONT. 


521 


DESIGN  FOR  CORNER  CUPBOARD 
WITH  CURVED  FRONT. 

By  DAVID  EA1NS. 


\  EGIN  by  cutting  the  sides,  as  shown  at 
Fig.  1,  leaving  one  the  thickness  of 
stuff  broader  than  the  other ;  cut  the 

two   shelves  very  accurately,  and  mortise  them 

into  sides,  but  screws  will  do  if  the  cupboard 

is  small,  put  in  from  outside. 

You  will  require  a  curved 

piece  at  bottom.      Cheese- 
boxes  are   useful   for  such 

purposes. 

Having  the  body  of  the 

cupboard    fitted     together, 

proceed  with  the  door  thus  : 

Procure  some  well-seasoned 

pine,   and  cut  four  curved 


FIC.2. 

pieces,  as  Fig.  2,  for  top  and 
bottom  rails.  Let  the  grain 
run  through  each  segment, 
so  that  when  joined  together 
each  piece  will  support  the 
other,  and  make  a  solid 
whole ;  see  that  you  get 
the  grain  as  straight  as 
possible  at  the  ends,  in 
order  to  give  strength  to  the  tenons.  In  a  small 
door  you  need  only  to  use  three  pieces  to  form 
the  rails.  Begin  by  cutting  a  template  very  truly 
in  cardboard  or  wood  of  the  curve  required 
(quarter  of  a  circle)  to  work  to  in  setting  out, 
and  planing  up  ;  then,  when  all  the  segments 
are  ready  for  the  door  frame,  use  plenty  of  glue 
on  each  surface  to  be  joined,  and  after  rubbing 
well  together,  clamp,  and  leave  till  quite  dry. 
Join  together  at  one  time  two  pieces  ;  when  all 
are  dry,  join  them  all  together.  Now  mortise  into 
the  etiles  in  the  ordinary  way,  and,  when  dry, 
plane  true  to  the  template.  You  need  not  trouble 
to  hollow  the  stiles  at  back.     The  panel  can  be 

Vol.  III.  (New  Series).— Part  35- 


sufficiently  thin  to  take  the  required  curve,  and 
be  let  into  the  groove  in  the  ordinary  way ;  or 
you  may  cut  a  rebate,  and  bevel  the  front  edge. 
In  the  former  case,  you  will  put  a  narrow  mould- 
ing round.  To  bend  mouldings,  put  them  into 
boiling  water,  and  bring  to  necessary  form  of 
curve  by  putting  a  number  of  nails  of  that  curve 
in  a  piece  of  board  ;  bend,  and  fix  the  moulding, 
and  leave  till  dry.  The  panel  can  be  linerusta, 
more  or  less  decorated.  The  ends  drop  into 
mortises  at  bottom  of  sides. 
Glue  a  few  blocks  at  back 
to  keep  steady.  The  top 
moulding  can  be  built  up 
with  two  pieces  at  top,  cut 
to  shape  above  the  bought 
moulding;  it  can  be   bent, 


Fl  C.3. 

or  maybe  made  with  scratch- 
tool;  or  a  simple  and,  I  find, 
very  effective  moulding  can 
be  made  by  merely  cutting 
separate  pieces  carefully  to 
the  required  curve,  and  fit- 
ting together  with  screws,  as 
in  drawing   (Fig.  3).     The 
lower  edge  comes  just  below 
top  edge  of  shelf.     Secure  end  of  moulding  to 
sides  with  wire  nails  or  fine  screws.    Glue  blocks 
at  back,  to  keep  in  position. 

When  finished,  paint  with  "  ivory  white  " 
enamel,  using  it  thinned  down  with  turps  for 
first  coat.  Stop  all  cracks  and  holes  with  a  putty 
composed  of  the  enamel  and  dry  whiting  (this 
makes  a  splendid  stopping,  but  do  not  mix  more 
than  you  want),  after  first  painting.  If  a  picture 
is  on  the  panel,  put  a  little  gold  on  the  surround- 
ing moulding  or  bevel.  Fit  and  screw  on  fancy 
handle  and  hinges,  but  remove  them,  and  do  not 
permanently  fix  until  after  painting,  as  otherwise 
you  are  liable  to  injure  the  enamelled  surface. 
VOL.  III.  (n.s.) — T   T 


522 


HOW  TO  MAKE  A   MODEL   LOCOMOTIVE. 


HOW   TO    MAKE    A    MODEL 
LOCOMOTIVE. 

By  ELECTRON. 


3  HE  maker  of  a  model  locomotive  must 
be  prepared  to  expend  a  great  amount 
of  labour  and  patience  in  bringing 
his  work  to  a  successful  termination  ;  the  fitting 
of  the  various  parts  must  be  truly  and  accurately 
done,  and,  to  prevent  mistakes,  a  full-sized  work- 
ing drawing  should  be  made.  The  model  about 
to  be  described  is  18  inches  long,  the  driving 
wheels  are  4|  inches  diameter,  and  the  gauge  of 
the  rails  5£  inches. 

Fig.  1  is  a  side  elevation  showing  the  finished 
model ;  Fig.  2  is  a  half  plan  of  the  working 
parts,  looking  upward  ;  and  Fig.  3  is  a  side  view 
of  one  of  the  frame  plates,  each  drawn  to  a  scale 
of  one-third  full  size. 

The  frame  is  of  cast  brass  ;  two  side  plates  and 
two  end  plates  will  be  required  ;  the  castings 
should  be  1  inch  thick,  except  the  parts  shaded 
dark,  which  should  be  J  inch  thick.  The  pro- 
jections being  on  the  inside,  the  two  side  plates 
should  be  faced,  then  bolted  together,  and  the 
edges  of  the  two  filed  up  alike ;  the  end  frames 
have  angle  pieces  cast  on  them,  by  which  they 
are  screwed  or  rivetted  to  the  side  plates ;  they 
must  be  put  together  perfectly  straight,  parallel, 
and  square.  The  projections  at  the  lower  end 
of  guard  plates  are  for  the  axle-boxes,  which 
have  a  flange  on  the  front  and  back  to  keep 
them  in  the  grooves,  and  are  prevented  from 
falling  out  by  a  pin  at  the  lower  end ;  the  holes 
in  the  axle-boxes  of  the  driving  wheels  are  &  inch 
in  diameter,  and  in  those  of  the  leading  and 
trailing  wheels  J  inch  diameter ;  the  width  from 
back  to  front  of  the  axle-boxes  is  tfc  inch  ;  in  the 
top  of  each  axle-box  a  hole  is  drilled  iV  inch 
deep,  for  a  pin  \  inch  diameter,  from  the  lower 
end  of  spring.  These  pins  pass  through  the 
projection  over  the  groove  of  each  axle-box, 
and  have  a  small  cap  on  the  top,  on  which  the 
spring  rests. 

At  the  top  end  of  spring  a  screw  is  passed 
through  the  projection  in  side  plates,  with  a 
milled  head,  and  a  cap  at  the  lower  end ;  by 
turning  this  screw,  the  pressure  on  the  spring  is 


regulated.  The  springs  are  made  of  steel  wire. 
Fig.  4  shows  one  spring  and  axle-box  two- 
thirds  full  size. 

The  driving  wheels  are4| inches  diameter,  with 
crank  formed  in  centre,  as  shown ;  the  leading 
and  trailing  wheels  are  3  inches  diameter.  The 
wheels  are  A  inch  thick.  A  flange  is  formed 
on  each  wheel  to  prevent  them  leaving  the  rails, 
and  the  edges  of  the  tyres  are  coned  A  inch  ;  the 
effect  of  this  coning  is  to  keep  the  wheels  on  the 
centre  of  the  rails.  A  counterbalance  is  formed 
in  the  driving  wheels,  which  steadies  the  motion 
of  the  engines. 

The  castings  of  wheels  are  brass,  and  turned 
by  being  fixed  in  a  four-jawed  chuck,  or  they 
can  be  let  into  a  wood  chuck,  faced,  and  the 
holes  bored,  and  fixed  on  their  axles  to  turn 
the  edges. 

The  axles  for  driving  wheels  are  of  steel, 
|  inch  diameter,  inside  the  framing,  and  turned 
down  to  xs  inch,  where  they  pass  through  the 
axle-boxes,  a  shoulder  being  formed  ;  the  lead- 
ing and  trailing  axles  are  <&  inch  leas  in 
diameter.  Each  pair  of  wheels  must  be  turned 
exactly  of  one  size,  and  fixed  to  the  axles  by 
keys,  a  keyway  being  cut  in  the  end  of  the  axle, 
and  in  the  boss  of  the  wheel.  A  buffer  block  of 
mahogany,  |  inch  thick,  must  be  fixed  at  the 
front  end  of  framing.  The  buffers  are  made  of 
two  pieces  of  brass  tube,  one  sliding  within  the 
other ;  the  largest  tube  has  a  square  flange  at 
one  end,  with  four  holes  drilled  in  it,  to  screw 
it  to  the  buffer  block.  The  smaller  tube  has  a 
circular  end  of  wood,  J  inch  thick,  fixed  on  it ; 
from  the  centre  of  this  a  piece  of  wire,  £  inch 
diameter,  passes  through  the  centre  of  the  flange 
in  the  other  tube ;  the  end  is  screwed,  and  has 
a  small  nut  fixed  upon  it.  Upon  this  wire  a 
coiled  steel  spring  is  fixed,  which  can  be  tight- 
ened up  by  the  nut ;  a  hole  is  bored  in  the 
buffer  block  for  the  nut,  the  springs  are  screwed 
moderately  tight,  a  hook  and  chain  is  fixed  to  the 
centre  of  the  buffer  block,  and  a  rail  guard  at 
each  side  (see  Fig.  1).  If  no  tender  or  tank  is 
used,  buffers  can  be  put  to  the  back  end  of  frame. 
The  cylinders  are  of  brass,  f  inch  bore,  and 
1 J  inch  stroke.  The  steam  and  exhaust  ports 
are  two-thirds  full  size  on  Fig.  5.  The  cylinders 
can  be   bored   by  any  of  the   means  already 


HOW  TO   MAKE  A   MODEL   LOCOMOTIVE. 


523 


1 

■-  °               °              °      ^a 

"=~~=\Ey 

i  odd  ;; 

111.  Mill 

524 


HOW  TO  MAKE  A   MODEL   LOCOMOTIVE. 


described  in  this  magazine.  The  steam  ways  must 
have  two  £  inch  holes  drilled  down  them,  and 
the  two  joined  by  filing  with  a  small  round  file, 
also  file  a  piece  out  at  each  end  of  cylinder  to 
admit  steam  from  steam  ways ;  the  exhaust 
must  be  drilled  \  inch,  and  screwed  for  pipe. 
File  and  scrape  the  slide  valve  face,  and  drill 
ports,  and  square  them  out  with  a  small  file ; 
turn  up  the  flanges  of  cylinder,  and  scribe  a 
line  for  centres  of  bolts.  Turn  the  face  of  covers 
by  bedding  them  in  a  wood  chuck,  and  bore 
stuffing-box,  also  drill  a  hole  in  centre  of  bottom 
cover,  then  mount  the  covers  on  a  mandrel,  and 
turn  the  inside  face  and  edge,  and  scribe  a  line 
for  centres  of  bolts  ;  leave  a  portion  projecting 
A  inch  into  cylinder.  The  covers  will  be  easier 
made  true  by  turning  them  on  a  mandrel,  than 
by  reversing  them  in  the  chuck.  The  hole  in 
bottom  cover  can  be  filled  up  with  a  brass  plug 
after  it  is  turned.  Before  taking  the  front  cover 
out  of  the  chuck,  the  gland  should  be  screwed  in, 
and  the  hole  for  piston  drilled  while  it  is  in  the 
lathe.  Drill  the  covers  for  bolts,  and  mark  them 
through  by  the  drill,  to  the  cylinder  flanges. 
The  piston  must  be  turned  a  true  fit,  and  grooved 
for  hemp  packing,  or  for  rings ;  if  rings  are 
used,  the  piston  must  be  in  two  parts,  and  screwed 
together  by  small  screws  ;  the  rings  must  be 
faced,  then  fixed  on  piston,  and  turned  up  rather 
larger  than  cylinder;  then  file  about  A  inch 
out,  and  spring  them  into  their  places,  the  cut 
being  put  at  opposite  sides  of  piston.  The  piston 
rod  is  of  steel  ft  inch  diameter. 

The  elide' valve  must  be  faced  truly,  and  a 
groove  filed  in  the  back  for  valve  rod  ;  the  slide 
valve  case  and  cover  are  fixed  by  four  long 
screws.  A  stuffing-box  and  gland  is  formed  on 
one  end  of  valve  case,  and  a  projection,  with  a 
J  inch  hole,  drilled  and  tapped  for  steam  pipe, 
is  formed  in  the  cover.  The  valve  rod  must  be 
long  enough  to  pass  the  axle  of  leading  wheels, 
and  has  a  double  end  to  fit  on  link ;  it  is  screwed 
at  the  other  end,  and  holds  the  valve  by  two 
nuts.  The  screwed  portion  should  be  rather  less 
in  diameter  than  the  part  passing  through  the 
stuffing-box,  which  is  \  inch  diameter.  A  guide 
must  be  fixed  for  the  valve  rods  inside  framing. 

The  cylinders  are  fixed  to  the  framing  by 
brackets,  which  fit  inside  the  flanges,  and  may 


be  cast  with  the  cylinders,  or  soldered  on.  The 
cylinders  must  be  fixed  truly  in  line  with  the 
centre  of  driving  wheels.  The  guide  bars  are 
of  steel  \  inch  square,  and  are  screwed  to  the 
stuffing-box  of  cylinder,  which  is  made  to  suit 
depth  of  cross-head ;  at  the  opposite  end  a 
bracket  is  fixed  to  framing,  with  two  projections 
to  screw  the  guide  bars  to.  The  cross-head  is 
formed  with  a  groove  on  each  edge,  and  a 
socket  for  the  end  of  piston  rod,  which  is  fixed 
by  a  pin.  The  connecting  rod  is  of  steel,  with 
a  double  end  to  fix  on  cross-head,  and  fixed  by  a 
bolt  and  nut ;  the  big  end  is  §  inch  square, 
A  inch  thick,  and  is  divided  down  the  centre, 
and  fixed  by  two  bolts.  The  crank  pin  is  tk  inch 
diameter,  with  a  shoulder  on  the  outside,  to  pre- 
vent the  connecting  rod  coming  off ;  it  is  rivetted 
into  the  crank. 

In  taking  the  lengths  of  connecting  and  piston 
rods,  see  that  the  piston  has  just  clearance  at 
each  end  of  cylinder.  The  eccentric  sheaves  are 
of  brass,  with  brass  straps,  and  steel  rods  with 
double  ends ;  these  double  ends  are  straight  on 
the  outside,  and  project  to  the  inside,  in  order  to 
keep  the  sheaves  close  together.  The  links  are 
of  steel,  with  two  projections  for  the  rods  to  fix 
on  ;  the  radius  of  the  link  is  from  the  centre  of 
driving  axles.  A  brass  block  must  be  fixed  in- 
side the  link,  and  the  valve  rod  is  fixed  to  it  by 
a  pin.  The  links  are  raised  and  lowered  by 
levers  fixed  on  a  rocking  shaft,  and  connected 
by  two  links  to  the  top  eccentric  rod  ;  a  weight, 
sufficient  to  balance  the  links  and  eccentric  rods, 
is  fixed  on  each  lever.  The  shaft  is  fixed  to  two 
bearings  rivetted  to  the  framing.  A  rod  is 
carried  from  the  upright  lever  to  the  reversing 
lever  on  footplate ;  this  rod  must  be  cranked 
upwards,  so  as  to  join  the  reversing  lever  close 
under  footplate.  The  link,  rocking  shaft,  levers, 
and  a  portion  of  rod,  are  shown  half  full  size  on 
Fig.  5,  a.  The  slot  in  link  can  be  formed  by 
drilling  a  row  of  holes,  and  filing  it  out. 

The  reversing  lever  is  fixed  on  the  right-hand 
side  of  engine,  looking  forwards ;  a  bearing  is 
rivetted  to  the  under  side  of  the  framing,  and 
the  lever  passes  up  through  footplate.  It  is 
about  5  inches  long,  and  has  a  spring  click  and 
rod  about  \  inch  square,  fixed  on  the  front 
side,  in  two  eyes  dovetailed  into  the  lever.     A 


HOI]'  TO  MAKE  A   MODEL   LOCOMOTIVE. 


525 


segment,  with  notches  on  the  top,  is  fixed  at 
both  sides  of  lever,  and  the  rod  drops  into  the 
notches  to  fix  it  in  any  position.  The  segments 
are  screwed  to  two  small  uprights  fixed  on  the 
footplates.  The  footplates  are  £  inch  thick,  with 
a  diamond  pattern  cast  on  the  top  side ;  they 
are  rivetted  to  brackets,  or  angle  pieces  fixed  to 
the  frame.  A  piece  of  plate  is  fixed  at  front  and 
back  ends,  and  made  with  bevelled  edges,  to 
slide  in  and  out. 

The  boiler  is  made  of  copper  A  inch  thick ; 
made  as  shown  on  Fig.  6,  which  is  a  half  sec- 
tional view.  The  joint  is  brazed,  and  the  ends, 
which  must  be  i  inch  thick,  are  brazed  in ;  but 


fig.  sa. 

REVERSING    GEAR. 


before  the  ends  are  fixed,  the  dome,  steam  pipe, 
and  safety  valve  seat  must  be  brazed  in.  Cut 
out  two  semicircular  openings  for  steam  dome, 
leaving  a  strip  of  plate  in  the  centre  to  fix  steam 
pipe  in.  A  ring  of  brass  or  copper  must  be 
brazed  round  the  base  of  dome,  to  which  it  must 
be  fitted,  and  screwed  by  small  set  screws, 
making  the  joint  with  red  and  white  lead.  The 
advantage  of  having  the  dome  fitted  in  this 
manner,  is  that  if  anything  goes  wrong  with  the 
steam  pipe  or  tap  it  can  readily  be  got  at.  The 
steam  tap  is  about  the  size  of  an  ordinary  gas 
tap,  but  the  openings  are  at  right  angles  to  each 
other  ;  the  plug  is  drilled  so  far  from  the  small 
end,  and  another  hole  at  right  angles  is  drilled 
into  it ;  when  fixed  with  the  hole  in  a  vertical 
position  steam  passes  through,  and  when  turned 
to  one  side  the  steam  is  cut  off.  A  short  piece 
of  pipe,  reaching  to  the  top  of  the  dome,  is 
screwed  into  the  vertical  hole,  and  over  the  end 
of  this  pipe  a  piece  of  fine  wire  gauze  is  fixed,  to 
prevent  water  passing  out  with  the  steam ;  this 


pipe  and  the  tap  is  fixed  in  the  strip  of  plate  left 
in  the  boiler  shell  by  a  brass  nut,  a  pipe  is  fixed 
from  the  other  end  of  tap,  with  a  screwed  end 
passing  through  the  front  end  of  boiler  ;  a  brass 
collar  is  screwed  on  this  end  of  pipe,  at  each 
side  of  end  plate  of  boiler,  and  jointed  with  red 
and  white  lead,  and  screwed  up  tight,  to  prevent 
any  escape  of  steam.  From  the  other  end  of 
plug,  a  rod  passes  out  through  a  stuffing-box 
and  gland,  brazed  into  the  back  end  of  boiler;  a 
collar  is  fixed  on  the  rod  inside  the  stuffing-box, 
and,  when  packed  and  screwed  up,  this  prevents 
the  plug  working  out,  and  also  any  escape  of 
steam  round  the  rod.  The  rod  projects  a  little 
beyond  the  gland,  and  has  a  handle  fixed  on,  to 
form  the  regulator  ;  this  works  against  a  brass 
segment,  marked  "open"  at  one  end,  and 
"shut"  at  the  other  end.  The  boiler  is  3 
inches  wide,  4^  inches  high,  and  1 1  inches  long. 
A  piece  of  brass  must  be  brazed  inside  the  back 
end  plate  of  boiler,  to  fix  two  small  gauge  taps 
in,  which  are  screwed  in  from  the  outside,  and 
two  small  pipes  carried  from  the  taps  to  the 
under  side  of  footplates.  The  safety  valve  seat 
is  f  inch  diameter,  with  valve,  J  inch  diameter, 
fixed  in  the  top.  A  small  chimney,  1J  inch  high, 
is  screwed  on  the  valve  seat;  a  rod  from  the 
valve  passes  through  a  plate  fixed  across  the  top 
of  this  chimney,  and  a  spring  is  fixed  on  this 
rod,  to  give  pressure  to  the  valve.  The  valve  is 
pressed  at  22  pounds  to  the  inch,  the  spring 
exerting  a  pressure  of  1  pound  on  the  valve. 

Four  brass  stays  are  rivetted  to  the  shell  of 
boiler,  to  fix  it  to  the  framing  by  screws. 

The  dome  is  a  brass  casting ;  it  must  be  turned, 
and  the  base  fitted  and  screwed  to  ring  on  boiler. 
Four  pieces  of  brass,  \  inch  thick,  must  be 
brazed  to  the  front  end  of  boiler,  to  screw  fire 
box  to.  The  fire  box  is  made  of  thin  sheet 
copper,  with  a  door  2J  inches  diameter,  hinged 
on  the  front.  The  funnel  is  brass  tube,  with  a 
cast  brass  top  and  base  ;  the  base  is  rivetted  to 
the  top  of  fire  box.  The  fire  box  is  screwed  to 
the  front  end  of  boiler  by  screws,  which  can  be 
put  in  through  the  door. 

In  fixing  the  boiler  on  the  framing,  see  that 
the  stays  bear  equally,  so  as  not  to  twist  it,  and 
that  top  of  boiler  is  parallel  with  the  footplates. 
The  steam  pipes  are  screwed  into  the  connections 


526 


CHURCH  CLOCKS. 


on  cover  of  slide  valve  case,  and  meet  in  a  T 
pipe  in  the  centre  ;  one  end  is  screwed  into  the 
T  pipe,  and  the  other  end  has  a  stuffing-box  and 
gland.  A  pipe,  with  a  flange  upon  it,  is  carried 
up  to  the  steam  pipe  in  boiler  end,  and  is  fixed 
by  three  small  screws,  the  joint  being  made  with 
red  and  white  lead. 

The  exhaust  pipes  are  brought  together  by 
bends,  and  screwed  or  jointed  with  flanges ; 
carry  blast  pipe  to  base  of  funnel. 

The  two  guards  for  driving  wheel  can  be  cast 
in  one  piece,  turned  up  and  cut,  and  fixed  by 
screws  to  the  top  of  footplates.  Two  sand  boxes 
of  brass  are  fixed  against  the  guards,  as  shown, 
and  screwed  to  footplates. 

The  cab  is  made  of  thin  sheet  brass  or  copper, 
rivetted  together,  and  fixed  by  screws  to  foot- 
plates and  end  of  boiler.  Split  brass  tube  is 
put  round  the  outside  edges,  and  two  round  or 
square  glass  panes  in  front. 

A  whistle  may  be  fixed  near  safety  valve,  and 
a  screw  cap  for  filling  boiler ;  an  imitation  fur- 
nace door  should  be  fixed  on  the  back  end  plate 
of  boiler. 

The  lamp  is  a  brass  box  5  inches  long  and 
3  inches  wide,  with  8  burners  screwed  in ;  it  is 
suspended  from  the  frame  by  brass  hooks. 

The  joints  in  cylinder  covers,  slide  valve  cases, 
and  covers,  are  made  with  red  and  white  lead 
mixed  together,  and  screwed  up  tight  by  the  set 
screws.  The  stuffing-boxes  are  packed  with 
cotton  well  soaked  in  oil. 

The  cranks  of  driving  wheels  must  be  keyed 
on  at  right  angles  to  each  other.  To  find  the 
correct  length  of  eccentric  rod,  turn  the  sheave 
as  far  from  the  cylinder  as  it  will  go,  and  note  if 
the  steam  port  is  full  open  ;  then  turn  it  to  the 
opposite  side,  and  if  the  other  port  is  open  the 
same  distance,  the  rod  is  right ;  if  not  the  same, 
the  rod  is  shortened  or  lengthened  till  both  ports 
are  opened  equally.  It  will  be  advisable  to  use 
a  temporary  rod  till  the  exact  length  is  found. 
To  set  the  slides,  turn  the  crank  till  the  piston  is 
at  one  end  of  the  cylinder,  then  turn  the  eccen- 
tric sheave  till  the  steam  port  at  the  same  end 
of  cylinder  is  just  beginning  to  open.  On  turn- 
ing the  crank  to  the  opposite  end  of  cylinder, 
the  other  port  should  be  in  the  same  position  ; 
sometimes  a  little  adjustment  is  needed,  but  if 


the  length  of  the  rod  has  been  taken  correctly, 
no  alteration  will  be  needed.  The  two  sheaves 
for  each  cylinder  must  be  keyed  fast  on  the 
shaft  as  soon  as  the  proper  position  has  been 
found,  one  being  set  to  work  backwards,  and 
the  other  forwards.  The  slides  of  the  other 
cylinder  are  set  in  the  same  manner ;  then  fix 
the  rods  from  the  levers  for  raising  and  lowering 
the  links,  being  careful  to  have  the  two  forward 
and  two  backward  eccentrics  in  gear  at  once. 

The  springs  should  be  adjusted  when  the 
boiler  is  filled  ;  when  the  boiler  is  pressed  down 
with  the  hand,  and  released,  it  should  spring 
back  again. 

The  boiler,  framing,  wheels,  and  all  other 
parts  usually  painted,  should  have  two  or  three 
coats  of  enamel  paint,  same  colours  as  those  on 
railways  ;  and  all  the  working  parts  should  be 
kept  oiled. 


CHURCH  CLOCKS: 

HOW    TO    MAKE    ONE   FOE   A   TRIFLE. 
By   W.    A.    ALLEN. 


II. — Weight  Carried  on  Pulleys— Steel  Wire  Rope 
—  Centre  Wheel  —  Escape  Wheel  —  Pallet  — 
Pallet  Arbor  with  Attachments — Pendulum — 
Mercurial  Compensation  Pendulum. 

HEN  the  weight  does  not  go  down  to 
solid  ground,  there  ought  to  be  a 
large  box  full  of  broken  stones,  or 
sand,  for  it  to  fall  upon  should  the  rope  break, 
which  may  happen  through  overwinding,  es- 
pecially when  the  weight  has  to  run  up  out  of 
sight,  which  it  often  does,  to  get  all  the  drop 
possible.  In  a  case  like  this,  it  is  well  to  have 
some  sort  of  arrangement  to  tell  the  man  who  is 
winding  when  to  stop,  which  can  very  easily  be 
done  with  an  electric  bell ;  as  it  is  not  at  all  safe 
to  rely  on  a  makeshift  method,  such  as  watching 
for  a  mark  on  the  rope,  even  if  there  is  always 
light  enough  to  see  it,  and  the  winding  man  has 
been  told  about  it. 

When  the  weights  do  not  hang  from  the 
barrel,  but  the  rope  has  to  be  led  off  to  a  fixed 
pulley  somewhere,  it  is  necessary  that  it  should 
be  so  far  off,  and  in  such  a  position,  that  it  will 
feed  straight  off  on  the  barrel,  without  either 
separating  or  grinding  against  itself;   and  all 


CHURCH  CLOCKS. 


527 


FiC  13 


DESCRIPTION    OF   FIGURES. 

FIG.  6. — METHOD  OF  HANGING  WEIGHT  OVER  PULLEYS  ;  A  A  A,  FIXED  PULLEYS  \ 
B,  WEIGHT  ;  C,  WHEEL  OF  CLOCK.  FIGS.  7  AND  7A. — CENTRE  WHEEL  AND 
ATTACHMENTS  ;  A,  CENTRE  WHEEL,  AND  E,  PINION  WHEEL  KEYED  TO  HOLLOW 
SPINDLE  C  ;  D  D,  BRASS  FLANGE  ;  E,  SPRING  TO  KEEP  WHEEL  TIGHT  ON  B  ; 
F,  LUG  TO  STOP  SPRING,  AND  FORM  SHOULDER  FOR  BEARING.  FIGS.  8  AND  9. — THIRD  AND  SCAPE  WHEELS.  FIG.  IO. — 
PIN  WHEEL  ESCAPEMENT;  A.  ESCAPE  WHEEL;  B  C,  PALLETS.  FIG.  II. — SECTION  PIN  WHEEL  ESCAPEMENT;  A, 
CRUTCH  ;  B,  BEAT  PIN  :  C,  PALLET  ARBOR.  FIGS.  13  AND  14. — COMPENSATION  PENDULUM  ;  A,  LEAD  BOB  ;  B,  RATING 
NUT;  C,  PENDULUM  ROD;  D,  IRON  RULE;  E,  ZINC  RULE;  F,  MERCURY  IN  GLASS  JAR  ;  G,  POINTER  TO  SHOW  LENGTH 
OF  BEAT. 


sorts  of  dodges  are  resorted  to  to  attain  this 
(see  Fig.  6).  Every  provision  necessary  must 
be  made,  for  I  have  known  large  clocks  fixed 
in  places  where  the  architect  left  a  hole  in 
the  wall  for  the  dial,  and  forgot  all  about  the 
space  for  the  works.  Similarly,  at  the  Cardiff 
Theatre  :  the  decoration  and  entrances  were 
everything   that   could   be   wished,    but   when 


finished,  it  was  found  that  the  architect  had  for- 
gotten to  make  any  provision  for  dressing-rooms 
#nd  other  offices,  having  overlooked  the  fact  that 
the  actors  would  want  to  change  their  clothing, 
and  the  manager  would  require  a  room  to  write 
letters  and  make  up  his  accounts. 

The  rope  should  be  made  of  steel  wire,  and 
not  galvanised,  as  that  tends  to  make  it  brittle, 


528 


CHURCH  CLOCKS. 


and  is  certainly  no  good,  as  it  can  be  kept  from 
rusting  by  coating  it  over  with  vaseline,  and 
all  the  bright  parts  should  be  treated  in  the 
same  way. 

The  centre  wheel :  we  propose  to  make  this 
wheel  to  revolve  once  an  hour,  so  will  take  the 
hand  work  from  it.  The  wheel  will  have  128 
teeth,  and  the  pinion  16  leaves,  as  they  are 
called,  and  secured  at  each  end  of  a  short  tube 
(see  Fig.  7),  a  solid  arbor,  with  a  collet  (a  nut 
made  red-hot  and  driven  on)  or  lug  in  the  centre, 
to  form  a  shoulder,  turned  up  true  and 
fitted  to  the  centre  ;  a  square  at  each  end 
1  he  front  one  to  cause  the  hands,  or  rather, 
the  arrangement  to  work  the  hands, 
motion  work,  as  it  is  called, 
and  the  back  end  to  put  the 
key  on  to  turn  them.  It 
will  thus  be  seen  that  the 
arbor  will  turn  without  the 
wheel  and  pinion,  and,  if 
put  in  from  the  pinion  end, 
and  secured  with  a  collet 
and  pin  through  it,  the 
whole  will  revolve  together 
when  the  clock  is  going. 
The  next  wheel  is  called  the 
thud,  and  has  120  teeth  and  16  pinions,  and  is 
secured  on  its  arbor,  as  shown  in  Fig.  8. 

And,  lastly,  is  the  escape  wheel,  with  a  pinion 
of  16  :  this  wheel  cannot  be  bought,  and  will 
have  to  be  made,  but  it  is  an  easy  job,  as  it  is 
made  of  sheet  brass  a  little  over  £  inch  thick. 
After  giving  it  a  good  hammering  with  a  flat 
hammer  on  a  smooth  flat-iron,  cut  it  out  with  a 
fret  saw,  secure  it  to  the  arbor,  or  rather  to  a 
brass  collet  on  the  arbor  (see  Fig.  9).  Now 
put  it  in  the  lathe,  and  turn  up  and  face  all 
over,  then  drill  in  the  rim  thirty  holes  identical 
in  size,  and  their  distances  apart  equal,  and 
their  radial  length  the  same.  Upon  the  drill- 
ing of  these  holes  depends  the  result  of  the 
whole  of  our  labour.  Now  insert  hard  brass 
pins,  either  soldered,  screwed,  or  shouldered  and 
rivetted,  and  then  very  carefully  file  the  top  side 
halfway  through,  and  a  little  flat  on  the  under- 
neath side  (see  Fig.  10).  If  you  think  you 
cannot  manage  this  nicely,  the  pins  can  be 
round,  but  must  then  be  very  small,  say,  ^  of 


FIG.  12. — FRONT  VIEW  OF  END  OF  CRUTCH 


FIG.  I2A. — SIDE  VIEW  OF  END  OF  CRUTCH 


an  inch,  which  make  them  very  liable  to  damage, 
but,  if  perfect,  will  give  just  as  good  a  result. 

The  pallets  must  be  made  of  steel,  and  the 
acting  surfaces  made  as  hard  as  possible,  and 
well  polished.  I  have  drawn  the  whole  of  the 
escapement  f  full  size,  and  you  must  make  it 
exact,  as  I  have  not  given  the  why  and  where- 
fore of  the  different  angles,  etc. 

On  the  end  of  the  pallet  arbor  (p,  Fig.  11)  is 
the  crutch,  d,  which  works  the  pendulum,  and 
by  which  the  clock  is  put  in  beat.     Most  people 
seem  to  know  that  the  beat,  or  tick,  ought 
to  sound  equal  in   time;  but  most  people 
have  a  very  erroneous  notion  that  this  de- 
pends on  the  clock  being  upright,  whereas 
that  has  nothing  at  all  to 
A  do  with  it,  unless  the  crutch 
r®  has  been  so   adjusted  that 
the  pallets  escape  at  equal 
angles   when  the    clock   is 
upright,     which     is     done 
by    letting    the    pendulum 
swing  only  just  far  enough 
for  the  escape  ;  in  that  case 
we  bend  the  crutch  either 
to  the  right  or  left,  as  it  is 
required. 

But  in  the  very  first-class  clocks  it  is  done  by 
mounting  the  pin  on  a  screw  (see  Fig.  12) ;  this 
is  a  very  much  better  way,  and  is  quite  worth 
the  extra  time.  It  will  be  seen  that  by  turning 
the  milled  screw  on  the  right-hand  side,  the  beat 
pin  can  be  brought  to  the  exact  place  that  it  is 
required,  without  any  bending.  The  pendulum 
will  now  require  our  attention. 

The  pendulum  will  be  a  wood  rod,  at  the  top 
end  a  piece  of  brass  to  carry  the  suspension 
spring,  and  at  the  bottom  a  brass  end  with  a 
screw,  and  a  good  well-fitting  milled  nut,  to 
raise  or  lower  the  bob. 

The  suspension  spring  must  have  a  hole  at 
the  lower  end,  to  secure  to  pendulum,  and  a 
brass  mount  at  the  top,  to  fit  in  the  clock,  and 
from  which  the  whole  is  suspended.  It  should 
be  about  3  inches  long  by  1  inch  broad,  and  not 
too  thin.  A  bit  of  French  clock  mainspring  is 
just  the  thing. 

A  good  way  to  make  the  bob  is  to  get  a  piece 
of  brass  tube  that  will  just  fit  the  rod,  and  about 


THE   ELECTRIC  SEE-SAW. 


529 


9  inches  long ;  tit  this  into  another  brass  tube  of 
the  same  length,  but  3  or  4  inches  diameter,  put 
a  top  and  bottom,  and  fill  it  full  of  lead.  Be 
sure  that  the  tube  is  in  the  centre  of  the  bob,  or 
it  ■will  not  be  balanced,  and  the  clock  will  be  out 
of  beat  if  it  is  turned  round,  which  will  be  a 
never-ending  source  of  trouble ;  but  if  carefully 
made,  nothing  can  be  better,  excepting  a  com- 
pensating one — that  is,  one  made  of  different 
metals,  to  expand  and  contract  with  the  different 
temperatures. 

The  one  usually  put  to  turret  clocks  is  called 
the  zinc  tube  compensation,  and  is  made  by 
getting  a  rod  of  steel  §  inch  diameter  and  4 
inches  long,  fitted  at  the  top  with  a  block  to 
take  the  suspension  spring,  and  at  the  bottom 
with  a  screw  of  40  threads  to  the  inch,  for  a 
length  of  4  to  5  inches  from  the  bottom,  to 
receive  the  rating  nut. 

Now  get  a  drawn  zinc  tube  just  large  enough 
to  slip  easily  over  the  rod,  \  inch  thick  and  28 
inches  long ;  this  tube  rests  in  a  sink  formed  in 
a  thick  washer,  or  collar,  just  above  the  rating 
nut,  and  provision  should  be  made  to  prevent 
this  collar  turning  with  the  nut.  The  simplest 
way  is  to  file  the  pendulum  rod  flat  for  about 
5  inches  up,  and  to  put  a  pin  through  the  collar 
just  free  of  the  flat  of  the  rod  (see  Fig.  13). 
Outside  of  the  zinc  tube,  and  slipped  freely  over 
it,  is  an  iron  tube  (a  piece  of  |^  inch  gas  barrel 
is  just  the  right  size),  having  at  the  top  a  cap 
recessed  to  fit  the  end  of  the  zinc  tube,  with  a 
hole  in  the  centre,  of  a  size  to  slip  freely  over 
the  central  rod,  and  at  the  bottom  an  outer 
collar,  to  form  a  seat  for  the  bob.  A  few  holes 
drilled  through  the  barrel,  to  allow  the  air  to 
get  to  the  zinc,  will  be  an  advantage. 

The  bob  is  of  lead  4  inches  diameter  and  10 
inches  long,  and  will  weigh  about  40  lbs. ;  the 
upper  part  of  the  hole  just  passes  over  the  iron 
tube.  Halfway  up  from  the  bottom  the  hole  is 
enlarged,  so  as  to  pass  over  the  collar  on  the 
outside  of  the  iron  tube  ;  by  this  means  a  seat 
is  provided  in  the  middle  of  the  bob,  for  it  to 
rest  on  the  collar  (see  Fig.  13). 

The  mercurial  compensation  is  seldom  or 
never  used  for  church  clocks,  as  it  is  no  better 
than  the  steel  and  zinc,  and  is  much  more  ex- 
pensive ;    still,  the  elegant  appearance  of   the 


glass  jar  in  a  stirrup  renders  it  suitable  for 
show,  if  the  clock  is  fixed  in  a  place  where  it 
will  be  seen.  It  consists  of  a  glass  jar,  about 
8  inches  long  and  2  inches  diameter,  nearly  full 
of  mercury,  which  will  weigh  about  12  pounds, 
and  cost  about  2s.  6d.  per  pound.  The  jar  is 
suspended  in  a  framework  composed  of  two 
brass  castings,  joined  together  by  two  steel 
rods,  inside  of  two  more  brass  ends  and  steel 
rods.  The  inside  stirrup  which  holds  the  jar, 
must  be  made  to  slide  up  and  down,  and 
adjusted  by  the  rating  nut  under  the  bridge 
(see  Fig.  14). 

If  a  little  pointer  is  put  on  the  nut,  and  a  dial 
marked  on  the  casting,  very  fine  effects  can  be 
got,  and  it  makes  a  very  showy  affair. 


THE    ELECTRIC    SEE-SAW. 

By  ROBERT  W.  COLE. 


SEE- SAW  is  an  article  of  amuse- 
ment which  most  of  us,  if  not  all, 
have  been  acquainted  with  from  our 
earliest  youth.  A  toy  which  imitates  a  swing, 
both  in  appearance  and  in  movements,  is 
sure  to  receive  approbation  from  the  juvenile 
members  of  society,  to  whom  all  moving  toys 
give  more  satisfaction  than  those  which  do  not 
move  at  all. 

The  toy  which  I  now  propose  to  describe 
consists  of  a  small  see  -  saw,  worked  by 
electricity,  and  having  two  dolls,  fixed  at  each 
end  of  it,  which  enjoy  the  aerial  exercise. 
Fig.  1  is  a  side  view,  and  a  ground  plan  of 
the  toy  when  completed.  It  consists  of  a 
piece  of  wood,  b  b,  about  12  inches  long, 
which  forms  the  base  board  of  the  whole  ap- 
paratus; on  to  this  base  board  are  fixed  two 
supports,  e  (only  one  is  represented  in  the  Fig.), 
between  which  the  see-saw,  a  a,  can  move  up 
and  down  on  the  pivot,  f.  At  each  end  of  the 
piece  of  wood,  a  a,  are  fixed  two  seats,  c  and  d, 
and  a  piece  of  stout  wire,  e,  is  fixed  from  one 
edge  of  this  piece  of  wood,  and  is  fastened  to  a 
cog-wheel,  g,  against  the  circumference  of 
which  a  piece  of  pinion  wire,  forming  the  axis 
of  the  electro-motor,  revolves.  The  axis  of  the 
motor  revolves  on  two  supports,  l  l,   and  the 


530 


THE  ELECTRIC  SEE-SAW. 


FlC.  II 


DESCRIPTION     OF     FIGURES. 


FIG.  I. — REPRESENTING  IN  SIDE  VIEW  AND  IN  GROUND  PLAN  THE  SEE-SAW  WHEN  FINISHED  ;  A  A,  PIECE  OF  WOOD 
FORMING  THE  SEE-SAW  ;  B  E,  BASE  OF  TOY  ;  C,  SEAT  FIXED  AT  ONE  END  OF  SEE-SAW  ;  D,  SEAT  FIXED  AT  OTHER  END 
OF  SEE-SAW  ;  E  E,  SUPPORTS  OF  SEE-SAW  ;  F,  PIVOT  ;  G,  COG-WHEEL  ;  H,  MOTOR  ;  K,  CONNECTING-ROD  ;  L  L,  SUPPORTS 
OF  MOTOR  ;  M  M,  PIECE  OF  WOOD  TO  WHICH  MOTORS,  ETC.,  ARE  FIXED.  FIG.  2. — BASE  BOARD  OF  TOY,  SHOWING  SLITS 
CUT  IN  SIDES  IN  WHICH  THE  SUPPORTS  OF  THE  SEE-SAW  ARE  INTENDED  TO  BE  FASTENED.  FIG.  3. — SUPPORT  OF  SEE- 
SAW. FIG.  4.— SHOWING  UNDER  SIDE  OF  SEE-SAW  WITH  GROOVE  AND  PIECE  OF  ZINC  NAILED  ACROSS  IT.  FIG.  5. — 
SHOWING  PORTION  OF  BASE  BOARD  AND  SEE-SAW  ;  A  A,  SUPPORTS  OF  SEE-SAW  ;  B,  PORTION  OF  SEE-SAW  ;  C  C,  PIECES 
OF  BRASS  TUBE  WHICH  FIT  OVER  KNITTING-NEEDLE,  AND  WHICH  ARE  FIXED  ONE  ON  EACH  SIDE  OF  B.  FIG.  6. — PIECE 
OF  METAL  CUT  OUT  TO  FORM  A  SEAT.  FIG.  7. — SEAT  WHICH  IS  FIXED  AT  END  OF  SEE-SAW.  FIG.  10. — SCREW  WHICH 
FASTENS  THE  COG-WHEEL  ON  TO  ITS  SUPPORT.  FIG.  II.— SIDE  VIEW  OF  SEE-SAW  OF  MORE  ELABORATE  CONSTRUCTION  ; 
A  A,  SEE-SAW  ;  B,  FLAG  ;  C,  ELECTRO-MOTOR  ;  D  D,  SUPPORT  OF  SEE-SAW  ;  E  E,  SEATS  FIXED  AT  THE  END  OF  SEE-SAW. 
FIG.  12.  — ENLARGED  VIEW  OF  SIDE  FRAMES.  FIG.  13. — PIECE  OF  WOOD  FOR  FASTENING  TOGETHER  TOPS  OF  SIDE 
FRAMES.      FIG.  14.— SEE-SAW    MADE  OF  TIN-PLATE. 


whole  electro-motor,  together  with  its  supports 
and  the  cog-wheel,  g,  is  fastened  to  the  piece  of 
wood,  M  m.  The  action  of  the  electro-motor  in 
working  the  see-saw  is  very  simple :  when  the 
motor  revolves,  its  axis,  since  it  presses  against 
the  cog-wheel,  g,  causes  it  to  revolve  also,  and 
move  up  and  down  the  piece  of  metal,  k,  which 
in  its  turn  imparts  this  up  and  down  motion  to 
the  piece  of  board,  a  a. 


The  first  part  of  the  apparatus  which  we  will 
make  is  the  piece  of  wood  which  forms  the  base 
of  the  toy.  Procure  a  piece  of  deal  or  mahogany, 
i  inch  thick,  1  foot  long,  and  6  inches  wide,  and 
on  the  middle  of  each  side  cut  a  slit  3  inches 
long  and  \  inch  wide,  as  shown  in  Pig.  2.  Next 
prepare  two  pieces  of  deal  or  mahogany, 
8  inches  long  and  3  inches  wide  at  their  widest 
part,  and  neatly  screw  each  of  them  into  the 


THE  ELECTRIC  SEE-SAW. 


331 


two  slits  which  you  have  already  cut  on  each 
side  of  the  base  board  of  the  instrument.  These 
two  pieces  of  wood  are  intended  to  be  the 
supports,  e  (see  Fig.  1),  and  should  be  shaped 
as  is  seen  in  Fig.  3,  being  wider  at  the  top  than 
at  the  bottom.  Before  fixing  these  two  supports 
in  their  places  on  the  base  board,  bore  a  small 
hole  with  a  bradawl  about  \  inch  from  the  top 
of  each  of  the  supports,  and  procure  a  stout 
steel  knitting-needle  which  will  fit  tightly  into 
these  holes ;  this  knitting- 
needle  is  intended  to  be  the 
axis  upon  which  the  see-saw 
moves  up  and  down,  and  it 
passes  across  the  base  board 
from  one  support  to  the  other. 
We  will  now  proceed  to 
make  the  piece  of  wood  which 
forms  the  see-saw.  To  make 
this,  procure  a  piece  of  wood 
about  12  inches  long,  3  inches 
broad,  and  \  inch  thick; 
plane  both  sides  smooth,  and 
neatly  round  off  its  edges ; 
then  draw  a  line  across  the 
middle  of  it,  and  draw  a 
small  rat-tail  file  backwards 
and  forwards  along  this  line 
until  you  have  cut  a  small 
groove  along  it,  which  is  deep 
and  wide  enough  for  the 
knitting  -  needle,  which  was 
previously  mentioned,  to  fit 
into  ;  place  the  piece  of  wood 
on  a  table,  lay  the  knitting- 
needle  (which  should  be 
about  8  or  9  inches  long)  in 
the  groove,  so  that  it  projects  equally  over  each 
end  of  the  groove ;  then  get  a  small  piece  of 
sheet  zinc,  3  inches  long  and  3  inches  wide,  cut 
off  its  corners,  and  nail  it  with  small  brass  tacks 
on  the  piece  of  wood  across  the  groove  and 
knitting-needle  laying  in  it.  Fig.  4,  which 
represents  a  portion  of  the  see-saw,  shows  how 
the  piece  of  zinc  is  nailed  across  it,  the  groove 
being  denoted  by  a  a,  and  the  piece  of  zinc  by 
b  c  d  e.  The  piece  of  zinc  you  can  easily  get  at 
the  shop  of  any  zinc-worker,  or,  if  you  do  not 
happen  to  live  near  such  a  shop,  a  piece  of  iron 


g. — GROUND    PLAN    OF    MOTOR    AND 
MECHANISM  ATTACHED  TO    IT. 


FIG.  8. — SIDE  VIEW  OF  ELECTRO-MOTOR  AND 
MECHANISM  WHICH  CONNECTS  IT  WITH  THE 
SWING;  A,  ELECTRO-MOTOR  ;  B,  SUPPORT 
OF  ELECTRO-MOTOR  ;  C,  COG-WHEEL  ;  D, 
PINION  WIRE  ON  AXIS  OF  ELECTRO-MOTOR  ; 
E,  SUPPORT  OF  COG-WHEEL  ;  F,  PIECE  OF 
WOOD  TO  WHICH  THE  SUPPORTS  E  AND  B 
ARE  FASTENED  ;    G,  CONNECTING  ROD. 


or  brass  will  do  equally  well.  When  the  zinc 
has  been  nailed  on  to  the  see-saw,  it  should  be 
painted  black  with  Aspinall's  enamel,  and  set 
on  one  side  to  dry.  In  future,  for  the  sake  of 
convenience,  we  will  speak  of  this  piece  of  wood 
as  the  see-saw. 

Since  the  base  board  of  the  toy  is  6  inches 
wide,  and  two  supports,  £  inch  thick,  are  let  into 
it,  the  distance  between  the  inside  faces  of 
these  two  supports  is  5  inches,  and  the  knitting- 
needle,  which  passes  from 
one  support  to  the  other, 
must  be  6  inches  long.  Pro- 
cure a  piece  of  small  brass 
tube,  and  cut  off  two  pieces, 
each  1  inch  long.  Now  take 
the  knitting-needle  from  the 
groove  between  the  piece  of 
wood  forming  the  see-saw, 
and  the  piece  of  zinc  which 
was  nailed  across  it,  and  pass 
it  through  the  hole  which 
you  have  already  bored  at  the 
top  of  the  support,  through 
one  of  the  pieces  of  brass 
tube,  then  through  the  groove 
in  the  see-saw,  and  finally 
through  the  second  piece  of 
brass  tube  and  the  hole  which 
you  have  drilled  through  the 
other  support.  You  will  then 
find,  if  you  have  followed 
out  the  instructions,  that  the 
see-saw  will  move  up  and 
down  on  the  knitting-needle, 
without  slipping  either  to 
the  right  or  to  the  left.  In 
fixing  the  see-saw  on  the  needle,  the  side  of  it 
which  has  the  piece  of  zinc  nailed  across  it  must 
be  placed  so  that  it  faces  downwards.  If  you 
have  any  difficulty  in  passing  the  knitting- 
needle  through  the  holes  in  the  support,  a  few 
blows  from  a  hammer  will  readily  fix  it  in  its 
place.  Fig.  5  will  make  the  mode  of  fixture 
clear,  the  two  supports,  knitting-needle,  and 
see-saw  being  represented  as  looked  down  upon 
from  above ;  the  supports  are  represented  by 
a  a,  the  see-saw  by  b,  and  the  knitting-needle 
and  brass  tubes  by  c  c. 


532 


THE  ELECTRIC  SEE-SAW. 


Having  made   yourself  quite    sure   that  the 
parts  which  have   already  been  described  are 
exact,  you  may  now  proceed  to  the  construction 
of  the  seats  placed  at  the  two  ends  of  the  see- 
saw, and  the  dolls  which  sit  in  them.     To  make 
the   former,   procure    two   strips   of    tin-plate, 
3  inches  wide  and  7  inches  long  ;   cut  them  into 
the  shape  shown  in  Fig.  6,  making  a  b  2  inches 
long,  b  g  3  inches  long,  and  o  d  2  inches  long, 
and   cutting   away  from  b   c  a   strip  of  metal 
\  inch  wide  ;  then  bend  the  two  end  pieces,  A  b 
and  c  d,  right  round,  so  that  they  are  at  right 
angles  to  b  c,  and  you  will  then  have  two  pieces 
of  tin-plate  shaped  as  shown  in  Fig.  7.     Now 
place  one  of  these  pieces  of  metal  at  each  end  of 
the  see-saw,  making  the  end  pieces,  a  b  and  c  d, 
point  away  from  the  centre,  and  firmly  secure 
them  in  their  places  by  means  of  small  brass 
tacks  ;  you  will  thus  have  fixed  a  seat  at  each 
end   of  the   see-saw,    in   which   the    dolls    are 
intended  to  be  placed.     "We  must  now  proceed 
to  procure  the  two  dolls ;  you  can  get  these  at 
any  toy  shop  ;  they  should  be  about  8  inches 
long,    and   should   have  tolerably   stiff    backs. 
Place  one  in  each  seat,  arrange  them  so  that 
they  have  their  backs  turned  towards  the  centre 
of  the  see-saw,  and  firmly  fix  them  in  their  seats 
with  glue,   and,    if   necessary,  with  additional 
straps  passed  round  their  bodies  and  the  back 
of  the  seats. 

We   will    now    turn    our    attention    to    the 
construction     of     the     electro-motor    and     the 
apparatus  connected  with  it.     The  electro-motor 
may  be  a  small  dynamo,  or  any  other  kind  of 
electro-motor  that  you  please,  and  the  revolving 
armature  should  not  be  more  than  4  inches  in 
diameter.     Its  axis  should  be  made  of  pinion 
wire  having  seven  or  eight  leaves,  and  ought  to 
be  about  5  inches  long.     Fix  the  electro-motor 
on  a  piece  of  wood  long  enough  to  contain  it 
easily,   and  6  inches  wide.     Fig.  8  represents 
the  electro-motor ;    a  is  the  revolving  magnet, 
which  should  not  be  more  than  2  inches  wide ; 
b  is  the  support  of  the  axis  of  the  motor ;  d  is 
the  axle  which  projects  outside  the  support,  b; 
and  Q  is  the  connecting  rod.     Now  get  a  cog- 
wheel about  3  inches  in  diameter,  and  if  it  does 
not  already  possess  a  hole  through  its  centre, 
drill  one  £  inch  in  diameter.     To  do  this,  you 


should  chuck  on  your  lathe  a  piece  of  boxwood 
4  inches  in  diameter,  and  bore  in  its  face  a  hole 
nearly  3  inches  in  diameter  and  \  inch  deep, 
and   gradually  enlarge  it  until   the   cog-wheel 
can  be  tightly  fitted  into  it  by  hammering  ;  be 
careful  in  doing  this  that  you  do  not  break  off 
any  of  the  teeth  of  the  cog-wheel,  or  bend  it 
at    all.      Having   done  this,   make  the  wheel 
revolve,    and    drill    a    hole    right  through  its 
centre  by  holding  a  drill,  \  inch  in  diameter, 
against  it ;  remove  it  from  the  lathe,  and  drill 
another    hole    through    it    \    inch    from    the 
centre,  and  tap  this  hole  so  that  a  screw  will 
fit  into  it.     Now  get  two  small  pieces  of  sheet- 
brass,  i  inch  thick  and  1  inch  square  ;  solder 
one  of  these  on  each  side  of  the  centre  of  the 
wheel,   again  chuck  the  wheel  on  your  lathe, 
and  drill  a  hole  \  inch  in  diameter  right  through 
the   centre   of   the   wheel   and   these  pieces  of 
brass.     The   object   of   fixing   these  pieces    of 
brass  on  each  side  of  the  wheel  is  to  make  it 
revolve  truly  on  its  bearings.     The  support  for 
this  wheel  should  be  about  3j  inches  high,  and 
may  be   shaped   in   the  same   manner    as  the 
support  of  the  axis  of  the  motor ;  bore  a  hole 
1    inch   from  the  top  of  this  support,  procure 
a   screw  on  which  the   cog-wheel  will  revolve 
truly,  fit  the  cog-wheel  on  it,  and  screw  it  into 
the  hole  which  you  have  made  in  the  support. 
This  screw  will  form  the  bearing  on  which  the 
cog-wheel  revolves,  and  should  be  screwed  so 
far  into   the   support  that  the   cog-wheel  can 
revolve  on  it  freely,  without  slipping  along  it 
at  all.     Now  fix  the  support  on  to  the  base,  to 
which  the  electro-motor  is  fixed,  and  allow  the 
teeth  of  the  cog-wheel  to  press  against  those  of 
the  pinion  wire  which  projects  from  the  support 
of  the  motor  ;  this  can  be  easily  done  by  passing 
long  thin  screws  right  through  the  lower  part 
of  the  support  and  the  piece  of  wood  to  which 
the  motor  is  fixed.     The  machinery,  as  far  as 
we  have    now   proceeded,    is    represented    in 
ground  plan — that  is,  as  looked  down    upon 
from  above,  by  Fig.  9,  the  same  letters  being 
used  for  the  same  parts  as  in  Fig.  8,  with  the 
exception  that  h  denotes  the  axis  of  the  motor, 
and  k  denotes  the  screw  which  fastens  the  cog- 
wheel to  its  support.     Now  place  the  electro- 
motor on  the  base  of  the  toy,  so  that  the  centre 


THE  ELECTRIC  SEE-SAW. 


533 


of  the  cog-wheel  is  2  inches  from  the  centre  of 
the  support  to  which  the  steel  knitting-needle 
was  fastened,  and  screw  it  firmly  down  by  two 
screws  passed  through  each  end. 

Now  prepare  a  screw  of  brass,  steel,  or  of 
any  other  material  which  you  may  find  suitable, 
and  shape  it  as  is  represented  in  Fig.  10,  where 
the  head  of  the  screw  is  represented  by  a,  and 
the  part  on  which   the   screw  is  cut  is  repre- 
sented by  c;    this  screw  must  be  made  to  fit 
into  the   hole  which   you  have  already  drilled 
and  tapped  in  the  cog-wheel.     Now,  if  you  have 
removed  the  see-saw,  knitting-needle,  etc.,  from 
their  places,  in  fixing  the  electro-motor  replace 
them,  and  fit  a  small  screw  into  the  side  of  the 
see-saw  which  is  nearest   to  the  cog-wheel,  and 
at   a   distance   from  the  centre  of  the  see-saw 
equal    to   2   inches.     Now    place    the    see-saw 
in   a   horizontal   position,    and   turn   the    cog- 
wheel round   until   the   hole,  which  you  have 
drilled   through   it,    is   in   a   position    midway 
between  its  highest   and  lowest  positions,  and 
measure  exactly  the  distance  between  the  centre 
of  the  screw,  fitted  into  the  side  of  the  see-saw, 
and  the  centre  of  the  hole  drilled  through  the 
side  of  the  cog-wheel,  while  the  cog-wheel  and 
see-saw  are  thus  placed.     Then  procure  a  piece 
of  sheet-brass,  about  \  inch  wide,  make  a  small 
dot  at  each  end  of  it  with  a  dotting  punch,  and 
make  the  distance  between  these  dots  equal  to 
the  distance  which  you  have  already  measured 
between  the  centre  of  the  screw,  fitted  into  the 
side  of  the  see-saw,  and  the  centre  of  the  hole 
drilled   through    the    side   of    the    cog-wheel. 
When  you  have  made  these  dots,  drill  a  hole 
through  one  having  the  same  diameter  as  the 
screw  which  passes  through  the  side  of  the  see- 
saw,   and  through  the  other  dot   drill  a  hole 
having  the  same  diameter  as  the  thick  part  of 
the  screw,  represented  by  Fig.   10.     Now  un- 
screw these  two  screws,  fit  the  piece  of  brass  on 
to  them,  and  screw  them  back  in  their  places  ; 
and  when  you  have  done  this,  you  will  have 
formed  a  connection  between  the  cog-wheel  and 
the  see-saw,  which   will   cause  the  see-saw  to 
move  up  and  down  when  the  cog-wheel  revolves. 
Only  one  thing  now  remains  to  be  done  before 
the  toy  is  completed,  and  that  is  to  balance  the 
see-saw,  so  that  as  little  power  as  possible  will 


be  required  to  cause  it  to  move  up  and  down  ; 
to  effect  this,  remove  the  connecting  rod  by 
taking  out  one  of  the  screws,  and  prepare  a 
piece  of  sheet  brass  about  1  \  inches  square,  and 
drill  a  hole  through  each  of  its  corners ;  then 
observe  which  end  of  the  see-saw  is  uppermost, 
place  the  piece  of  brass  upon  it,  and  slide  it 
towards  or  from  the  centre  of  the  see-saw  until 
it  is  accurately  balanced ;  mark  its  position 
exactly,  and  screw  it  down  by  four  screws, 
passed  through  the  hole  which  you  have  drilled 
in  the  corners  of  it.  Of  course,  if  you  find  that 
on  disconnecting  the  connecting  rod,  the  see- 
saw is  exactly  balanced,  there  will  be  no 
occasion  to  use  the  piece  of  brass  at  all. 

If,  when  the  see-saw  is  worked  up  and  down, 
the  end  of  it  which  is  above  the  electro-motor 
comes  in  contact  with  it,  the  screw,  which  is 
fitted  into  the  side  of  the  see-saw,  must  be 
moved  further  away  from  the  centre  ;  the  see- 
saw will  then  have  less  swing. 

Before  drawing  this  article  to  a  close,  I  wish 
to  add  a  suggestion  for  a  see-saw  of  more 
elaborate  construction,  but  having  the  same 
machinery  as  the  one  which  I  have  already 
described.  Fig.  1 1  represents  the  side  view  of 
such  a  see-saw ;  a  a  is  the  piece  of  wood 
forming  the  see-saw ;  is  is  a  flag  which  is  fixed 
on  the  centre  of  the  see-saw  ;  c  is  the  electric 
machinery,  which  needs  no  special  description, 
since  it  is  the  same  as  that  which  has  already 
been  described  ;  d  d  form  the  framework  which 
supports  the  see-saw,  and  which  is  cut  out  of 
\  inch  material  by  means  of  a  fret-saw.  At 
each  end  of  the  see-saw,  there  are  placed 
elegant  carriages,  E  e,  made  of  tinned  iron, 
painted  over  with  enamel  paint.  For  the  sake 
of  future  reference,  we  will  briefly  speak  of  the 
framework,  d  d,  as  "  the  side  frames." 

To  proceed  with  the  construction,  prepare  a 
piece  of  wood,  about  14  inches  long,  6  inches 
broad,  and  \  inch  thick,  to  form  the  base  board 
of  the  apparatus.  Next  make  the  side  frames  ; 
these  are  represented  on  a  large  scale  in  Fig.  12, 
and  should,  as  was  previously  stated,  be  cut 
with  a  fret-saw  from  J  inch  material ;  you  will 
require  two  of  these,  and  they  should  be  exactly 
similar  in  shape  and  in  size ;  their  extreme 
height  should   be   about    7    inches,    and   they 


534 


A   FOLDING   BOOK-REST. 


should,  be  about  1  foot  long.  In  the  part  of 
each  side  frame,  denoted  by  letter  a  in  Fig.  12, 
a  small  hole  should  be  drilled ;  two  more  holes 
should  also  be  drilled  at  the  ends  of  each  side 
frame,  in  the  position  denoted  by  b  in  Fig.  12. 
Sandpaper  both,  and  if  they  are  made  of  some 
hard  wood,  such  as  walnut  or  mahogany,  polish 
them,  and  with  small  screws  fasten  one  on  each 
side  of  the  base  board  of  the  toy ;  then  turn  two 
pieces  of  boxwood,  shaped  as  is  shown  in 
Fig.  13,  each  6|  inches  long,  and  make  the  thin 
parts  at  the  end  of  each  J  inch  long,  and  of  such 
a  diameter  that  they  will  readily  fit  into  the 
holes,  b  b  (see  Fig.  12),  which  you  have  made  in 
the  side  frames  ;  then  press  the  two  side  frames 
slightly  apart,  glue  the  ends  of  each  of  these 
pieces  of  wood,  and  fit  them  into  the  holes,  b  b 
(Fig.  12),  press  the  side  frames  together,  and 
tie  them  tightly  together  with  some  string,  so 
that  the  pieces  of  wood  are  glued  firmly  into 
them.  Now  prepare  a  piece  of  wood  to  form 
the  see-saw,  mount  it  upon  a  steel  knitting- 
needle,  passed  through  the  hole,  a  (see  Fig.  12), 
in  each  side  frame,  and  place  it  between  pieces 
of  brass  tube,  exactly  as  you  did  before  in  the 
case  of  the  other  see-saw.  Instead  of  wood, 
you  may  use  a  piece  of  tinned  iron  as  the 
material  for  the  see-saw,  the  sides  for  about 
£  inch  in  breadth  being  bent  over,  as  is  shown 
in  Fig.  14,  and  a  brass  tube  very  slightly  larger 
than  the  knitting-needle  being  soldered  across 
the  middle  of  the  underneath  side.  The  car- 
riages, represented  by  E  e  in  Fig.  11,  should 
also  be  made  of  tin-plate,  soldered  into  the 
shape  of  a  box,  having  an  aperture  at  one 
end,  and  having  seats,  also  made  of  tin-plate, 
soldered  across  them  from  side  to  side.  These 
carriages  should  then  be  fastened  on  to  the  ends 
of  the  see-saw ;  if  the  see-saw  is  made  of  wood, 
they  can  be  nailed  on  with  small  brass  tacks, 
and  if  of  metal,  they  can  be  soldered  on  to  the 
turned-up  ends,  represented  in  Fig.  14. 

The  electric  machinery  used  is  exactly  of  the 
same  description  as  that  already  described,  and 
can  be  connected  to  the  see-saw  in  the  same 
manner.  When  you  have  fitted  all  the  parts  in 
their  places,  the  various  pieces  of  metal  should 
be  coated  with  enamel  paint,  the  colour,  of 
course,    varying   according   to   taste;    the  side 


frames  should  also  be  coated  over  with  enamel 
paint,  and,  I  think,  would  look  best  if  done  in 
dark  blue  or  yellow  ochre.  Tou  can,  if  you 
please,  procure  some  small  dolls,  and  fix  them 
on  to  the  seats  with  pieces  of  thin  wire,  or  with 
string.  The  base  board  of  the  swing,  if  of 
mahogany,  should  be  polished  ;  if  of  deal,  or 
any  other  soft  wood,  it  should  be  stained  and 
varnished. 

The  see-saw  is  now  complete  ;  and  since  there 
is  not  any  very  elaborate  machinery  in  it,  you 
will,  I  hope,  not  find  any  difficulty  in  constructing 
it.  In  conclusion,  I  will  add  that  the  battery 
power  required  for  this  toy  is  very  small,  being 
about  one  h  pint  size  bichromate  cell,  or  a 
1  pint  size  Smee's  cell. 


A  FOLDING  BOOK-REST. 

By  A   WORKER. 


Y  object  has  been  to  design  a  book-rest 
which  shall  be  simple  in  construction, 
firm  enough  when  in  use  to  remain 
steady  under  the  weight  of  a  large  volume,  ad- 
justable to  almost  any  slope,  and  which  shall  be 
capable  of  being  folded  up  and  packed  away 
along  with  portfolios  and  other  flat  objects. 
Some  excellent  adjustable  desks  or  book-rests 
are  to  be  seen  at  public  libraries,  notably  at  the 
British  Museum,  but  these,  consisting  largely  of 
framed  construction,  can  only  be  made  by  those 
who  possess  the  skill  of  the  accomplished  cabinet 
maker,  and  who  are  ready  to  bestow  a  consider- 
able amount  of  time  upon  their  work.  In  the 
system  of  construction  which  I  recommend,  solid 
rectangular  pieces  of  prepared  boarding  will 
take  the  place  of  frames,  and  by  their  additional 
weight  will  greatly  conduce  to  the  steadiness 
of  a  book-rest ;  while  the  only  joints  required 
will  be  formed  by  means  of  glueing  and  screw- 
ing combined — an  operation  which,  if  properly 
performed,  will  result  in  making  the  joints  the 
strongest  part  of  the  construction. 

The  ordinary  cheap  folding  book-rest  for  the 
table,  such  as  we  see  in  the  shops,  is  supported 
by  means  of  a  leg,  or  prop,  hinged  to  the  top 
of  the  desk,  and  having  its  foot  cut  to  an  angle, 
so  that    it   will  rest    between  the  teeth   of  a 


A   FOLDING  BOOK-REST. 


535 


horizontal  rack.  By  this  means  the  desk  is 
adjustable  to  various  slopes,  but  such  a  desk 
doest  not  admit  of  much  variety  of  adjustment. 
If  the  leg  be  made  short  enough  for  low  angles, 
it  will  not  be  long  enough  for  steep  ones,  and  if 
made  long  enough,  it  cannot  be  adjusted  to  low 
angles  without  a  length  of  rack  which  would  be 
inconvenient  and  clumsy  in  appearance.  After 
some  consideration,  I  have  concluded  that  the 
best  plan,  avoiding  elaborate  construction,  is  to 
dispense  with  the  hinged  leg,  and  to  have  two 
detached  props — one  for  high,  and  the  other  for 
low  slopes — working  in  two  pairs  of  racks.  I 
say  "pairs of  racks,"  because  single  racks,  with 
single  props  working  in  them,  are  not  steady 
enough.     The  accompanying  diagram  shows  a 


SECTION'  OF    FOLDING  BOOK-REST. 

section  of  the  desk  in  use  at  a  low  slope,  and  it 
is  obvious  that  by  employing  a  longer  prop, 
steeper  slopes  can  be  obtained. 

The  stand,  which  rests  upon  the  table,  is  simply 
a  rectangular  piece  of  planed  boarding  of  any 
convenient  size,  which  may  finish  |  inch  or  more 
in  thickness.  The  grain  of  the  wood  should  run 
from  side  to  side,  not  from  front  to  back.  If  the 
dimension  from  front  to  back  is  required  to  be 
more  than  lOf  inches,  cross- tongued  wood  must 
be  used.  Along  the  front  edge  of  the  stand  is 
fixed  a  wood  fillet,  about  2i  inches  wide  by  f  inch 
thick.  The  fixing  is  done  by  means  of  strong 
screws  and  glue,  the  latter  being  allowed  to  flush 
into  the  screw-holes.  Two  other  fillets,  each 
about  1|  inches  wide,  are  attached  to  the  upper 
eurface  of  the  stand,  close  to  its  outside  edges, 


and  running  in  directions  at  right  angles  to  the 
former  fillet.  These  two  fillets  greatly  stiffen 
and  strengthen  the  stand,  because  they  run 
at  right  angles  with,  its  grain;  their  thick- 
ness must  obviously  be  equal  to  that  of  the 
former  fillet.  In  these  fillets  racks  are  cut,  as 
shown.  To  form  the  racks,  a  series  of  vertical 
saw-cuts,  at  intervals  of  1£  inches,  is  made,  and 
the  teeth  are  then  cut  with  a  chisel.  It  would 
be  useless  to  continue  cutting  the  rack  teeth  any 
further  inwards  than  is  shown  in  the  diagram, 
because,  if  the  point  of  support  were  brought 
nearer  than  half-way  towards  the  front,  the  desk 
would  be  unsteady ;  this  is  the  reason  why 
different  lengths  of  prop  become  requisite. 

The  desk  is  of  the  same  size  and  thickness  as 
the  stand,  and  has  similar  fillets,  with  racks 
attached  to  its  under  side  ;  and  the  desk  and 
stand  are  hinged  together,  as  shown.  A  fillet, 
2£  inches  wide,  is  hinged  to  the  lower  part  of 
the  desk,  running  along  the  whole  width  from 
side  to  side  ;  this  fillet  forms  a  ledge  upon  which 
to  rest  books,  and  it  is  clear  that  its  efficiency 
depends  upon  two  things — strength  of  hinge, 
and  thickness.  The  thicker  it  is,  the  less  will 
be  the  strain  exerted  by  leverage  against  the 
hinge  ;  it  may  finish  about  1^  inches  thick.  There 
is  a  hinged  flap  at  the  upper  end  of  the  desk, 
which,  when  opened  out,  increases  the  length  of 
the  desk,  so  as  to  make  it  available  for  folio 
volumes  or  music  books.  When  allowed  to  fall 
forward,  as  shown  in  the  diagram,  it  serves  to 
keep  open  the  leaves  of  a  book ;  its  width  will, 
therefore,  be  regulated  according  to  the  sizes  of 
books  most  likely  to  be  used. 

The  props,  only  one  of  which  is  used  at  a  time, 
are  simply  pieces  of  ^  inch  planed  board  with 
bevelled  edges,  of  sufficient  length  to  take  their 
bearing  in  the  racks,  and  of  such  widths  as  are 
required  for  the  most  convenient  slopes. 


Cement  foe  Fastening  Glass  to  Tin. — 
Gelatine  mixed  with  glycerine  yields  a  liquid 
which  on  cooling  solidifies,  and  forms  a  tough 
substance  which  is  unaffected  by  petroleum.  It 
produces,  also,  a  compound  suitable  for  printers' 
rollers,  but  water  must  not  be  employed  to  cleanse 
the  surface,  although  petroleum  or  benzine  may 
be  freely  employed. — Scientific  American. 


536 


THE  ELECTRIC  BELL. 


THE  ELECTRIC    BELL: 

AND    HOW    TO     CONSTRUCT     IT. 
By  JNO.    H.  MILNE. 


V.—  Pushes— Pressel — Line  Wires— Underground 
Wires — Outside  Wires— Conclusion. 

AYINGr  noticed  the  arrangement  most 
likely  to  serve  the  purpose  of  the 
reader  who,  having  made  his  bell, 
wishes  to  connect  it  up  in  a  satisfactory  manner, 
it  may  be  useful  to  consider  the  construction  of 
the  important  factor,  the  push. 

The  "push,"  or  "press  button,"  is  nothing 
more  than  a  contact  maker  (see  Fig.  34).  Fig. 
35  gives  a  sectional  view  of  the  ordinary  push, 
and  shows  the  principle  in  the  simplest  form.  It 
consists  of  a  brass  spring,  a,  to  which  is  fastened 
one  wire,  which  is  bent  upwards.  A  round  stud, 
for  making  contact  by  pressure  of  the  hnger,  is 
shown  at  b  ;  o  is  another  brass  plate  or  spring, 
from  which  the  wire  is  continued.  As  it  stands, 
it  is  simply  the  wire  cut  in  two,  or  the  current 
disconnected.  On  pressing  b,  to  form  contact 
with  o,  the  line  is  joined,  as  it  were,  the  circuit 
is  completed,  and  the  bell  rings.  On  removing 
the  finger,  the  contact  is  broken,  and  the  bell 
ceases.  The  points  of  contact,  between  the  under 
side  of  a  and  upper  side  of  c,  are  generally 
tipped  with  platinum,  so  as  to  ensure  good 
contact. 

Another  view  of  the  internal  arrangement  of 
the  push  is  given  at  Fig.  30,  which  shows  the 
base  with  the  working  parts.  The  screw  top,  with 
the  press  button,  having  been  removed,  a  is  the 
upper  spring,  which  is  screwed  down  at  the  one 
end  by  two  screws ;  the  other  is  raised  about  £  or 
i  inch ;  c  is  the  under  piece  of  brass  screwed 
flat  to  the  base.  The  two  contact  pieces,  of  course 
not  touching  d  d,  are  holes  bored  through  the 
base  for  connecting  the  wires  to  the  spring. 

The  cotton  or  silk  covering  is  removed  from 
the  wires  intended  to  be  connected  with  the  push 
for  J  inch,  and  the  metal  scraped  clean.  One 
wire  is  then  passed  through  one  hole,  d,  and 
inserted  below  the  piece  of  metal,  a,  between  the 
two  screws  shown  in  Figs.  35  and  36  ;  then  the 
screws  are  screwed  firmly  down.  The  same  is 
done  with  the  other  piece  of  metal,  c ;  then  the 


ivory  push  is  put  in  the  hole  in  the  cover,  and 
the  latter  screwed  to  the  base. 

The  reader  must  not  think  that  the  ordinary 
push,  seen  in  the  optician's  shop  window,  is 
the  only  kind  manufactured  ;  they  are  made  in 
various  metals,  also  earthenware  and  porcelain ; 
the  last,  especially,  are  often  beautiful  in  design 
and  colouring,  and  have  an  excellent  appearance. 
Figs.  38  to  42  represent  the  better  class  of  push 
sold  by  Messrs.  Gent  and  Co.,  whose  catalogue, 
price  4d.,  it  would  be  well  for  the  reader  to 
ha^e,  as  it  contains  valuable  information,  and 
its  numerous  illustrations  will  give  him  an  idea 
of  the  construction  of  electrical  apparatus  up 
to  date. 

Th  e  commonest  and  most  familiar  form  of  push 
known  to  the  ordinary  reader  is  shown  in  Fig.  37, 
and  is  adapted  for  indoor  use ;  it  is  turned  in 
mahogany  or  some  hard  wood,  with  a  bone  or 
ivory  press  button. 

Pushes  made  in  porcelain,  when  fitted  in  a 
drawing-room,  look  very  handsome,  and  are 
really  ornaments  to  the  room.  Usually  a  back 
of  wood  or  ebonite  screws  into  the  porcelain, 
through  which  the  wires  pass,  and  are  fixed  to 
the  contact  pieces,  which  are  screwed  to  the 
wooden  back. 

The  reader  must  be  especially  careful,  when 
putting  either  wire  under  its  contact  piece,  that 
it  does  not  protrude  so  as  to  touch  the  other 
contact  piece,  otherwise  a  connection  may  be 
made  when  not  desired,  and  the  circuit  com- 
pleted, causing  the  bell  to  ring  until  the  battery 
is  exhausted,  and  possibly  damaged,  or  even 
ruined.  He  should  also  see  that  the  contact 
pieces  are  quite  clear  of  each  other  before 
screwing  on  the  cap. 

The  cap  should  be  screwed  down  tight,  and 
the  bell  should  ring  when  the  button  is  pressed. 
Sometimes  the  bell  will  begin  to  ring  before  the 
cap  is  properly  screwed  down ;  the  cause  of 
this  will  be  that  the  contact  pieces  are  not  suffi- 
ciently apart. 

Another  form  of  push  is  that  especially 
adapted  for  outside  use  as  a  house-door  bell 
(Figs.  43,  44,  45). 

The  shape  shown  in  Fig.  37,  and  described  in 
Figs.  35  and  36,  is  often  used  for  outside  doors, 
and  will  be  found  to  act  satisfactorily  for  years, 


THE  ELECTRIC  BELL. 


537 


especially  if  the  wires,  in  addition  to  being 
attached  to  the  push  springs  by  the  screws,  are 
soldered  to  them.  For  outside  positions  metal 
pushes  are  generally  adopted. 

Fig.  46  is  a  simple  pull,  constructed  by  the 
writer  to  act  temporarily  for  his  front  door,  but 
which  proving  satisfactory,  was  retained,  and 
has  been  in  action 
for  some  time.  A  is 
a  brass  knob  with  a 
brass  rod,  b,  passing 
through  the  door,  d 
is  a  nut  that  screws 
on  to  the  end  of  the 
rod  b,  which  pre- 
vents the  rod  being 
drawn  out,  and  by 
which  the  spring,  f., 
can  be  tightened  or 
slackened,  e  is  a 
piece  of  springy 
or  \  inch  brass, 
through  which  a 
hole  is  bored  to 
allow  the  rod,  b,  to 
pass.  To  the  under 
side  of  the  opposite 
end  of  e,  one  end  of 
the  wire  is  soldered 
or  otherwise  affixed, 
and  the  other  wire 
is  fastened  to  the 
under  end  of  f. 

On  the  pull  being 
drawn  out,  e  and  f 
form  contact,  and 
the  circuit  is  com- 
pleted. It  should  be 
noticed  that  at  the 
raised  point  on  the 

lower  spring,  f,  the  spring  is  filed  so  as  to  make 
a  short  knifelike  edge,  which,  by  its  scraping 
action  on  e,  tends  to  keep  the  point  of  contact 
clean,  and  counteracts  the  oxidising  effects  of  the 
weather.  On  this  account,  such  a  form  of  con- 
tact is  preferable  to  the  simple  contact  push. 

The  reader  can  easily  make  such  a  front-door 
push  for  himself.  Obtain  a  small  drawer-knob, 
such  as  shown  in  Fig.  47  ;  it  can  be  bought  for 


FIC   4-1 


twopence.  Saw  off  the  screw,  b,  drill  a  hole  at 
c,  shown  by  dotted  line,  and  fit  i  no  it  a  £  inch 
diameter  brass  or  iron  rod  ;  it  will  then  be  as  in 
Fig.  48.  Cut  a  piece  of  A  inch  sheet-brass,  say 
2  inches  long,  1  inch  broad,  and  bore  three  holes 
through  it,  as  shown  in  Fig.  49  ;  the  middle  hole 
is  for  the  rod,  b,  to  work  in,  the  top  and  bottom 

holes  are  for  screws 
to  fix  it  to  the  door- 
post. 

After  lacquering 
the  knob  and  the 
plate,  they  will  look 
very  passable ;  the 
plate,  as  shown  in 
Fig.  49,  is  simply 
for  appearance.  The 
rest  of  the  mechan- 
ism will  present  no 
difficulty,  the  con- 
struction being  suf- 
ficiently shown  in 
Fig.  46. 

The  usual  electric 
push  for  a  front 
door  is  constructed 
on  the  principle 
FIC5E  shown  in  Fig.  50. 
When  the  knob,  a, 
is  pressed  in,  the 
end  of  the  rod,  c, 
tipped  with  plat- 
inum, comes  against 
a  platinum  point,  or 
plate,  d,  which  com- 
pletes   the    circuit, 


FIC4-0 

39. — CREAM  AND 


-front  the  rod,  b,  back  into 
its  original  position, 


FIG.  37. — WOOD  PUSH.      FIG.    38.— CHINA  PUSH.      FIG. 

GOLD   CHINA    PUSH.      FIG.  40. — WHITE  OR  BLACK  CHINA  PUSH  WITH 

GOLD    LINE.       FIG.    41. — GOLD    AND    CHOCOLATE    OR    CREAM    CHINA    ^he  Spring  bringing 

PUSH.      FIG.    42. — POLISHED    BRASS    PUSH.       FIG.    43.— FRONT   DOOR 

PUSH.      FIG.    44.  —ANOTHER    FRONT    DOOR    PUSH.        FIG.    45.- 

DOOR    PULL.      FIG.  52. — LUXURIOUS    FITTING    FOR  ELECTRIC    BELL  | 

A,   PRESSEL  ;   B,   COKD  ;  C,   ROSE. 

and  breaking  the 
circuit.  Of  course,  the  point  or  plate  at  d  is 
insulated  from  the  metal  work  of  the  other  parts 
of  the  push. 

The  ordinary  pull,  on  the  other  hand,  will  be 
understood  on  reference  to  Fig.  51,  and  acts  in 
the  same  way  as  described  in  Fig.  46. 

On  pulling  A,  the  disc  c  forms  contact  with 
d  d,  thus  closing  the  circuit ;  when  the  hand  is 
removed,  the  spring  round  the  rod,  b,  pushes 
vol.  in.  (n.s.) — u  tr 


538 


THE  ELECTRIC  BELL. 


back  c,  and  breaks  the  connection.  Of  course, 
the  spiral  b,  disc  c,  and  its  belongings,  are 
entirely  insulated  from  d  d. 

The  pressel,  a,  Fig.  52,  is  very  suitable  for 
bedrooms  ;  it  is  pear-shaped,  as  in  the  Fig.,  and 
has  the  push  at  the  lower  end  of  the  pear.  The 
terminals  are  placed  in  the  rose,  c,  which  is 
affixed  at  some  point  in  the  wall  near  the  ceiling, 
from  which  the  line  wire  proceeds  to  the  bell. 
The  pressel  is  joined  to  the  terminals,  or  rose,  by 
a  bell-rope,  b,  made  in  some  fancy  pattern, 
through  which  the  wires  are  carried. 

This  is  a  convenient  form  of  push,  and  is  very 
useful  in  case  of  sickness,  for  the  contact  spring 
in  it  can  be  very  light,  the  slightest  touch  being 
sufficient  to  cause  the  curront  to  flow  and,  if 
necessar}7,  ring  a  very  large  bell. 

The  interior  construction  of  the  pressel  is 
similar  to  that  of  the  ordinary  push  ;  on  press- 
ing the  button,  two  small  springs  make  contact, 
and  the  bell  rings.  As  the  pressel  is  difficult  to 
make,  even  if  the  reader  has  a  lathe,  it  is  better 
to  buy  this  part,  which  can  be  obtained  for 
Is.  6d.  and  upwards. 

Sometimes  instead  of  a  pressel  being  used, 
an  arrangement  similar  to  an  ordinary  bell-pull 
is  adopted  :  it  consists  simply  of  a  lever  to  which 
one  wire  is  joined,  and  a  contact  point  which 
communicates  with  the  other  wire.  On  the  lever 
to  which  the  bell-pull  is  attracted  being  pressed 
down,  contact  is  made,  and  the  circuit  is 
completed. 

A  very  advantageous  form  of  what  may  be 
considered  under  the  class  "  push,"  but  is  called 
a  switch,  is  shown  in  Fig.  53  :  a  is  a  contact  point 
or  plate  connected  with  No.  1  line  and  bell,  b  is 
a  contact  point  connected  with  No.  2  line  and 
bell,  and  c  is  connected  with  No.  3  line  and  bell. 
The  lever  is  joined  up  with  the  battery,  and  is 
in  the  drawing  in  connection  with  No.  2  bell. 
On  being  moved  to  a  or  c,  the  current  is  directed 
in  either  direction  ;  Fig.  54  shows  sectional  view. 
Lastly,  it  will  be  necessary  before  concluding,  to 
give  the  reader  some  hints  as  to  line  wires,  and 
the  fixing  of  them. 

If  expense  is  not  a  serious  item  with  him,  he 
should  certainly,  in  putting  up  the  line  for  his 
electric  bell,  obtain  well-insulated  wire,  as  the 
plain   uncovered  wire  is  subject  to  many  dis- 


advantages. The  line  may  very  possibly  come 
in  contact  with  some  conductor  of  electricity, 
which  will  cause  the  current  to  flow  in  a  wrong 
direction,  stop  the  action  of  the  bell,  and  waste 
the  battery ;  or  a  slight  leak,  which  may  be  diffi- 
cult to  detect,  may  occur,  and  the  ringing  of  the 
bell  be  weak  and  uncertain  ;  this  may  happen  by 
the  line  crossing  gas  or  water  pipes,  bell  wires, 
etc.,  or  not  being  properly  insulated  from  damp 
walls,  wet  floors,  etc. 

As  regards  the  line,  a  damp  atmosphere  must 
be  guarded  against,  especially  where  the  battery 
is  placed  in  the  cellar,  and  the  line  passes  along 
the  cellar  to  the  various  parts  of  the  house. 
Although  it  may  be  carefully  preserved  from 
contact  with  walls,  and  such  dangers  as  above, 
by  insulators  at  various  points  while  passing  on 
its  course,  yet  the  mere  cold  and  damp  atmos- 
phere of,  for  instance,  the  underground  kitchen 
or  cellar,  will  tend  to  dissipate  the  current. 

Again,  the  presence  of  steam  will  have  a 
similar  effect;  and  this,  it  should  be  remembered, 
will  be  so  not  only  at  the  actual  moment  of  the 
current  flowing  along  the  line  and  ringing  the 
bell,  but  the  damp  air  will  act  as  a  conductor, 
and  be  prejudicial  even  when  the  bell  is  not  in 
action,  and  the  circuit  is  open. 

However,  if  the  reader  thinks  that  the  expense 
of  covered  wire  is  a  serious  item,  as  a  consider- 
able number  of  amateurs  may  do,  he  should  try 
ordinary  bell  wire,  not  the  very  thick,  but  the 
thinner  kind,  corresponding  to  about  18  B.'W.  G.; 
he  will  find  that  the  bell  will  continue  to  work 
satisfactorily,  provided  the  places  through  which 
the  line  passes  are  dry  and  warm ;  if  there  is 
damp  or  cold,  difficulties  will  arise. 

The  writer  has  had  a  bell  and  indicator  at 
work,  the  line  wire  being  uncovered,  which  have 
answered  satisfactorily  for  a  considerable  time ; 
but  the  air  all  along  the  line  wire  is  dry  and 
warm. 

A  pound  of  uncovered  wire,  such  as  mentioned 
above,  would  cost  about  9d. ;  a  pound  of  cotton- 
covered  wire,  of  18  B.  W.  G.,  can  be  bought  for 
2s.  4d.  This  is  equal  to  47  yards.  Again,  if  a 
thinner  wire  is  desired,  use  20  B.  W.  G.,  a  pound 
of  which  would  cost  2s.  8d.,  but  contains  80 
yards.  If  they  are  well  coated  with  shellac,  or 
run  through  paraffin,  or  both,  they  will  be  found 


THE  ELECTRIC  BELL. 


539 


to  be  well   adapted  to  tlie  purpose  for  which 

they  are  intended. 

As  a  guide  to  the  reader,  he  -will  find  below 

prices  of  cotton-covered  wire,  which  he  can  by 

such  a  process  of  insulation  as  shellac  or  paraffin 

render  suitable  for  line  wires.     The  following 

list  is  founded  on  a  comparison  of  the  prices  of 

standing  firms  engaged  in  the  manufacture  of 

electrical  apparatus  : — 

Ko.  Per  Lb. 

1  is  B.W.G.  cotton  covered  wire,  2/0  to  2/4 

20         ,,  „  „     2/3  to  2/8 

22         „  „  „  3/0 

24         „  ,,  „      3/0  to  3/4 

Messrs.  Gent  and  Co.  estimate  the  number  of 

yards  to  the  pound  weight  as  follows  : 

Cotton  Covered.     Uncovered. 
45 

SO 

120 

162 

a-uarantee 


No.  18 
Xo.  20 
Xo.  22 
Xo.  24 
The   same  firm 


98 


47 

85 

131 

176 

per   cent. 


of 


■conductivity ;  therefore,  the  amount  of  leakage 
is  very  small. 

If  a  practical  electrician  were  putting  up  a 
set  of  electric  bells,  he  would  use  line  wire  pre- 
pared according  to  the  most  approved  method, 
and  specially  adapted  for  the  purpose,  that 
is,  endeavour  to  obtain,  as  far  as  possible,  a 
good  conducting  medium,  preserving  at  the 
same  time  good  insulation,  thus  ensuring  the 
satisfactory  working  of  the  battery  by  preventing 
leakage. 

The  following  extract,  by  permission,  from 
Messrs.  Gent  and  Co.'s  catalogue,  entitled 
"Instruction  to  workmen  employed  in  fixing 
electric  bells,''  will  give  the  reader  some  valu- 
able hints,  at  the  same  time  let  him  see  the 
manner  in  which  practical  electricians  do  their 
work  : — 

"  It  is  of  the  utmost  importance  that  all 
wires  used  for  electric  bell  purposes  be  of  pure 
copper,  and  thoroughly  well  insulated.  The 
materials  mostly  employed  for  insulating  pur- 
poses are  india-rubber,  gutta-percha,  or  cotton 
saturated  with  paraffin.  For  ordinary  indoor 
work,  in  dry  places,  and  for  connecting  doors 
and  windows  with  '  burglar  alarms,'  or  for  sig- 
nalling in  case  of  fire,  india-rubber  and  cotton- 


covered  wires  answer  well ;  but  for  connecting 
long  distances,  part  or  all  underground,  or  along 
walls,  or  in  damp  cellars  or  buildings,  gutta- 
percha covered  wire  is  required,  but  it  should 
be  fixed  where  it  will  not  be  exposed  to  heat  or 
the  sun,  or  in  very  dry  places,  as  the  covering 


DESCRIPTION   OF   FIGURES. 

FIG.  34.— PRINCIPLE  OF  PUSH.  FIG.  35.— SECTION-  OF  PUSH. 
FIG.  36. — FRONT  VIEW  OF  INTERIOR  OF  PUSH.  FIG.  46. 
— FORM  OF  PULL  FOR  FRONT  DOOR.  FIGS.  47  AND  48. — 
HANDLE  FOR  PULL.  FIG.  49. — BRASS  PLATE  FOR  PULL. 
FIG.  50. — PRINCIPLE  OF  PUSH  FOR  FRONT  DOOR.  FIG. 
51. — PRINCIPLE  OF  PULL.  FIG.  53. —FORM  OF  SWITCH- 
CURRENT  FROM  DIRECTION  OF  ARROW  MAY  BE 
SWITCHED  TO  EITHER  BELL.  FIG.  54. — SECTIONAL 
VIEW  OF  SWITCH. 

so  exposed  will  perish,  crack,  and  in  time  fall 
off.  This  may  be  to  some  extent  prevented  by 
its  being  covered  with  cotton,  but  we  recommend 


540 


THE  ELECTRIC  BELL. 


for  warm  or  exposed  positions  a  specially  pro- 
pared  wire,  in  which  rubber  and  compound 
forms  the  insulating  material,  the  outside  being 
braided  or  taped.  For  ordinary  house  work,  we 
prefer  to  lay  for  battery  wires  No.  18  or  20 
copper-covered,  to  No.  14  or  11  with  gutta- 
percha, and  an  outer  covering  of  cotton,  which 
we  call  the  'battery  wire,'  or  the  wire  which 
conveys  the  current  from  the  battery  of  every 
press  button,  no  matter  how  many,  or  in  what 
position.  The  reason  for  selecting  this  kind  is, 
that  with  the  gutta-percha  wires  the  joints  may 
be  more  perfectly  covered,  and  made  secure 
against  damp.  This  is  of  the  utmost  importance 
in  the  case  of  battery  wires,  as  the  current  is 
alwaj's  present,  and  ready  to  take  advantage  of 
any  defect  in  the  insulation  to  escape  to  an 
adjoining  wire,  or  to  earth,  and  so  cause  a  con- 
tinuous waste  of  current. 

"The  wires  leading  from  the  pushes  to  the 
signalling  apparatus  or  bell,  we  call  the  '  line 
wires.'  In  these  and  the  rest  of  the  house  wires 
the  perfect  covering  of  the  joints  is  important, 
although  the  current  is  only  present  during  the 
time  the  finger  is  upon  the  button,  and  the  bell 
ringing.  For  line  wires  we  usually  prefer  No. 
18  or  20  copper,  covered  with  india-rubber,  and 
an  outer  coating  of  cotton  well  varnished.  For 
short  lengths  and  cheap  work  No.  22  may 
be  used. 

"In  joining  the  battery  wire  the  place  where 
union  is  to  be  made  must  be  carefully  uncovered 
for  the  distance  of  about  an  inch,  the  ends  of  the 
wires  to  be  joined  well  cleaned  and  tightly 
twisted  together.  Get  fine  solder  in  strips,  and 
with  the  flame  of  a  candle  or  spirit-lamp,  heat 
the  joint  sufficiently  to  melt  the  solder  when  held 
on  it,  having  first  put  a  little  powdered  resin 
lip  on  it  as  a  flux  ;  see  the  solder  runs  well,  and 
firmly  adheres  to  the  copper  wire,  then  take  a 
piece  of  gutta-percha  and  place  upon  it  while 
warm,  and  with  the  aid  of  the  spirit  lamp  and 
wet  fingers,  mould  it  round  until  a  firm  and 
perfect  covering  has  been  formed.  On  no  account 
use  spirits  in  soldering. 

"  With  the  line  wires  it  is  best,  as  far  as  pos- 
sible, to  carry  it  all  the  way  from  the  push  to 
the  signal  box  in  one  length  ;  of  course,  when 
two  or  more  pushes  are  required  to  the  same 


wire,  a  junction  is  unavoidable.  The  same  pro- 
cess of  joining  and  covering  as  given  for  the 
battery  wire  applies  to  the  line  wire. 

"  Where  a  number  of  wires  are  to  be  brought 
down  to  one  position,  a  large  tube  may  be  buried 
in  the  wall,  or  a  wooden  casing  fixed  flush  with 
the  plaster,  the  front  being  removable.  The 
latter  plan  is  easiest  in  fixing  and  for  making 
alterations  and  additions. 

"  Where  wires  hang  along  a  damp  wall,  it  is 
best  to  fix  a  board,  and  loosely  staple  them.  la 
no  case  allow  more  than  one  wire  in  the  same 
staple,  and  do  not  fix  the  staples  to  touch  each 
other.  In  many  cases  electric  bells  have  been 
an  incessant  annoyance  and  complete  failure 
through  driving  the  staples  tight  up  to  the- 
wires,  and  several  wires  in  the  same  staple  ;  this 
must  not  be  done  on  any  account.  A  number  of 
wires  may  be  twisted  into  a  cable,  and  run 
through  a  short  piece  of  gutta-percha  tube,  and 
fastened  with  ordinary  gas  hooks  where  it  is  an 
advantage  to  do  so.  In  running  the  wires  avoid 
hot-water  pipes,  and  do  not  take  them  along  the 
same  way  as  plumbers'  pipes. 

"Underground  wires  must  be  laid  between 
pieces  of  wood,  or  in  a  gas  or  drain  pipe,  and 
not  exposed  in  the  bare  earth  without  protection, 
as  sharp  pieces  of  stone  are  apt  to  penetrate  the 
covering,  and  cause  a  loss  ;  in  fact,  in  this,  as  in 
every  part  of  fixing  wires,  the  best  wire  and  the 
best  protection  is  by  far  the  cheapest  in  the  end. 
The  copper  conductor  should  not  be  less  than 
No.  16  B.W.G.,  covered  with  G.P.,  to  No.  9  or 
10  B.W.G.,  and  preferably  an  outer  covering  of 
tape  or  braid  well  tarred. 

"Outside  wires,  when  run  along  walls  and 
exposed  to  the  weather,  should  be  covered  with 
rubber  and  compound,  and  varnished  or  tarred, 
on  an  outer  covering  of  tape  or  braid.  No.  20- 
copper  may  be  used  for  short  longths,  18  or  16 
for  long  lengths.  Hooks  or  staples  must  be  well 
galvanised,  and  fixed  loosely.  If  the  wire  is 
contained  within  an  iron  pipe,  a  lighter  insu- 
lation may  be  used,  but  the  pipe  must  be- 
water-tight." 

The  prices  of  the  above  wire  are  not  the  same 
with  all  makers,  but  the  difference  is  not  so 
much  as  to  seriously  affect  the  amateur's  pocket 
as  regards  the  quantity  he  would  require. 


GASFITTING  FOR  AMATEURS. 


541 


F.vxcr  Covered  with  Cotton-,  and  Paratfixed. 
No.  22,  per  100  yards    . .  . .     4  0 

No.  20  „  ....     5/0 

No.  IS  „  ....      7/6 

Gctta-Percha  Covered  Wire. 
No.  20.    100  yards,  from  about  7/0  to  8/0 
No.  18  >i  „  12/0 

IXDIA-RCBBER    AXD    CoTTOX-COVERED    WlRE. 

No.  22,  per  100  yards    . .  . .     6/0 

No.  20  „  .  .  .  .      8/0 

No.   18  „  ..  ..    12/0 

Gi'tta-Perciia  and  Cotton-covered  Wire. 
No.  24,  per  100  yards..     7/0  to     8/0 
No.  20  „  ..     9/o  to  11/0 

x°-  13  „  . .   13  0  to  18/0 

It  is  very  convenient  if  the  reader,  as  is  very 
frequently  adopted,  has  the  wire  from  the  posi- 
tive pole  of  one  colour,  and  the  return  or  negative 
wire  of  another  colour.  This  is  a  great  advantage 
where  a  break  occurs  in  the  line,  especially  if 
-the  wires  are  encased  in  a  tube,  as  the  operator 
can  always  recognise  the  wire  he  wishes  to  pull 
•out.  It  is  also  an  advantage  to  use  double  wires 
in  the  form  of  two  bound  together  as  a  single 
wire,  provided  they  are  carefully  insulated  and 
well  prepared  ;  but  if  of  inferior  preparation, 
this  form  of  wire  will  be  found  to  be  a  perfect 
nuisance,  as  leakage  and  contact  will  be  con- 
stantly occurring. 

Here  the  two  copper  wires  are  insulated  from 
each  other,  and  bound  together  as  one  line  with 
cotton,  then  run  through  paraffin.  This  line,  as 
the  reader  will  readily  understand,  is  neat  in 
appearance,  and  has  the  advantage  of  the 
double  insulated  system.  The  price  is  from  8s. 
to  10s.  per  100  yards  for  22  B.W.G.,  and  12s. 
for  No.  20.  One  cotton  and  one  india-rubber, 
9a  6d.  per  100  yards. 

In  conclusion,  the  writer  believes  that  if  the 
amateur  will  conscientiously  and  carefully  carry 
out  the  instructions  contained  in  this  and  the 
preceding  articles,  his  efforts  in  electric  beil  con- 
struction will  be  rewarded  by  success.  But  if,  on 
-the  other  hand,  the  amateur  fail  to  follow  strictly 
the  instructions  herein  given,  he  must  expect 
nothing  but  dismal  failure,  for  which  result 
of  his  labours  he  will  have  no  one  to  blame 
"but  himself. 


GASFITTING    FOR    AMATEURS. 


By  F.  A.  TOWNSEND. 


I.— Tools— Pipe- 


Fixing  Pendant — Blowing  Joints- 
Pipe  Hooks. 


HEKE  is  no  intention  by  the  writer  of 
these  papers  to  attempt  to  teach  any 
worker  the  trade   of  gasfitting,  but 
simply  to  give  such  instructions  as  will  enable 
anyone  with  a  little  mechanical  ability  to  fit  up 
a   house   for   himself.      I   have    simplified   the 
instructions  as  far  as  possible,  and  I  think  the 
worker  will  find  but  little  difficulty  in  doing  the 
work,  or  putting  in  extra  lights  where  wanted. 
I  expect  the  readers  of  Amateur  "Work  have 
tried,  and,  no  doubt,  have  accomplished  more 
than  one  subject.     For  this  reason  I  have  given 
a  few  hints  as  to  making  a  few  simple  tools  for 
this  work,  which  will  also  be  found  useful  for 
other  jobs.     We  will  suppose  that  a  person  has 
the  gas  laid  on  in  two  rooms,  viz.,  back  and 
front,  on  the  first  floor,  and  wants  an  extra  light, 
say    for  bed-room.      First  measure  what  pipe 
will  be  wanted ;    %  is  quite  large  enough  for 
single  lights;  then  get  the  pipe.  The  next  thing 
will  be  to  get  the  floor  boards  up,  to  connect  it 
to  the  main  supply  which  runs  to  the  pendant. 
First  take  a  nail  punch  (Fig.  1),  and  punch  down 
all  the  nails  on  each  side  of  the  board  to  be 
raised,  and  if  the  boards  are  either  dowelled  or 
rabbeted,  the  dowels  must  be  cut  through  on  one 
side,  so  as  not  to   split   the   board  adjoining. 
"When  this  is  done,  prize  it  up  with  a  chisel  bar, 
and  drive  the  chisel  bar  under  until  it  rests  on 
the   sides   of    the   two   boards   adjoining    (see 
Fig.  2).     Then,  with  a  tenon,  or,  as  it  is  often 
called,  a  back  saw,  cut  the  board  through  over 
the  joist,  so  that  when  the  boards  are  put  down 
again,  each  will  have   a  bearing  on  the  joist. 
Sometimes  it  is  convenient  to  cut  the  board  on 
the  side  of   the  joist,  as  shown  at  a,  Fig.   2. 
When  this  is  done,  it  will  be  necessary  to  nail  a 
piece  of  wood  on  the  joist,  for  the  board  to  rest 
on  ;  either  way  will  do,  if  the  board  is  put  down 
so  as  not  to  spring.     Having  got  the  board  up, 
saw  pieces  out  of  each  joist  to  admit  the  pipe, 
or  the  joists  may  be  bored,  similar  to  Fig.  3, 
with  a  twist  bit,  using  a  handle  or  wrench,  like 
Fig.  4,  for  this  purpose.     Fig.  5  shows  section. 


542 


GAS  FITTING  FOR  AMATEURS. 


GASFITTIXG  FOR  AMATEURS. 


543 


This  way  of  threading  the  pipe  through  possesses 
one  great  advantage  over  slotting  the  joists  ;  it 
is  a  protection  against  nails  being  driven  into 
compo  pipe,  as  often  occurs  when  carpets  are 
being  nailed  down.  It  is  a  little  more  trouble, 
but  is  certainly  a  better  job. 

Having  got  the  board  up,  and  joist  slotted  or 
bored,  prize  the  skirting-board  back  at  the  point 
where  the  pipe  is  to  come  through  for  bracket, 
a,  Fig.  6.  Pass  the  pipe  through,  and  carry 
over  joist  until  it  meets  the  main  supply  about 
a  foot  from  outlet  of  pendant.  Now  round  the 
end  of  pipe  with  Fig.  7,  closing  tool,  and  scrape 
clean  ;  after  that,  cut  a  hole  in  pendant  supply 
pipe,  round  it  with  taper  end  of  tool,  and  fit  the 
smaller  pipe  in,  Fig.  8.  Now  blow  the  joint; 
several  things  are  used  for  joint  blowing,  viz., 
double-wick  candles,  rushes  steeped  in  tallow,  a 
spirit-lamp,  etc.  I  prefer  the  candle,  as  being 
handy,  but  if  the  worker  chooses  to  make  a 
lamp,  similar  to  Fig.  9,  this  may  be  made  from 
gas  tube ;  A  is  A  inch  cap,  n  piece  of  \  inch 
brass  tube  screwed  into  cap,  c,  and  well  soldered, 
c  screws  on  to  d,  which  contains  methylated 
spirit,  in  which  is  soaked  a  piece  of  cotton  wick  ; 
the  wick  passing  through  b,  the  cap,  a,  prevents 
evaporation  when  out  of  use.  This  is  a  very 
handy  tool,  as  there  is  no  fear  of  blackening  the 
joint  when  making  it,  but  it  is  by  no  means  in- 
dispensable, as  most  old  hands  prefer  the  candle ; 
but  whatever  may  be  used,  take  the  lamp  or 
candle  in  the  left  hand,  a  thin  strip  of  solder  in 
the  right,  and  the  blowpipe  (Fig.  10)  in  the 
mouth.  Now  blow  a  clear,  steady  flame  on  to 
the  joint  to  be  soldered,  keep  putting  a  little 
rosin  on  with  the  strip  of  solder,  and  when  the 
pipe  is  hot  enough  the  solder  will  flow  round 
wherever  the  joint  has  been  cleaned  for  that 
purpose.  Be  careful  in  blowing  not  to  smoke 
the  joint.  The  copper  bit  may  be  used  for  this 
purpose,  but  it  is  not  so  handy  as  the  blowpipe, 
nor  will  it  do  as  good  work ;  still,  if  tho 
worker  likes  to  use  it,  see  that  there  is  a  good 
face  on,  viz.,  that  it  is  well  tinned  before  using. 
Having  soldered  it  in,  now  work  it  thoroughly 
straight,  using  both  hands  for  this  purpose,  and 
be  very  careful  to  have  it  level  under  the  boards. 
If  it  is  not  so,  water  will  lodge  in  the  lowest  parts 
during  cold  weather,  and  cause  jumping  lights. 


Now  proceed  to  put  the  plugs  in  the  wall  for 
one  or  two  brackets,  as  the  case  may  be.  There 
are  two  ways  of  doing  this,  viz.,  cutting  out  the 
mortar  between  the  bricks,  and  driving  a  flat 
wedge  in  (Fig.  11),  or  cutting  a  piece  of  brick 
out,  and  filling  up  the  space  with  a  square  piece, 
like  Figs.  12  and  13.  The  latter  is  the  soundest 
job,  but  if  the  fiat  plug  is  used,  cut  the  mortar 
out  with  a  plugging  chisel,  like  Fig.  14 ;  then 
drive  in  a  wedge,  similar  to  Fig.  11.  Having 
done  this,  carry  the  pipe  up  to  one  or  both  of 
the  plugs,  and  solder  the  elbows  into  the  pipe 
(Fig.  15).  These  elbows  can  be  got  either  in 
cast-brass,  or  made  from  §  tube ;  I  prefer  the 
latter.  They  are  tinned  at  one  end,  and  screwed 
the  other.  If  there  is  any  difficulty  in  getting 
either  one  or  the  other,  a  good  substitute  may 
be  made  as  follows  :  get  a  piece  of  %  brass  tube, 
screw  one  end  about  A  inch  down,  and  then  file 
a  nick  in,  as  shown  in  Fig.  16  ;  bend  it  down  to 
form  a  mitre  joint,  then  soft-solder  it ;  they  are 
better  brazed,  but  solder  will  do.  Now  solder 
on  to  the  pipe,  and^screw  the  pattress  block  on 
(Fig.  17).  These  are  turned  out  of  birch  usually, 
and/when  the  pipe  runs  ou'side  the  plaster,  they 
must  be  grooved,  as  shown,  to  fit  over  the  pipe  ; 
but  where  the  pipe  is  let  into  the  plaster,  this  is 
not  necessary.  If  the  plaster  is  cut  out  to  let 
the  pipe  into  it,  a  broad  chisel,  or  plaster  cutter, 
similar  to  Fig.  18.  may  be  used  for  cutting  the 
plaster  ;  part  of  a  16  or  18  inch  flat  file  will  do 
if  hammered  out  and  hardened,  letting  it  down 
to  a  blue  in  temper.  Having  blown  (Fig.  15) 
into  "compo  pipe,"  screw  the  block  (Fig.  17) 
over  it,  using  1\  inch  screws  ;  then  white-lead 
the  end  of  Fig.  15,  and  screw  the  bracket  on,  not 
forgetting  to  first  drill  either  two  or  three  holes 
in  bracket  back  ;  then  screw  fast  to  block  with  f 
or  1  inch  screws. 

Fig.  19  shows  how  board  should  be  cut,  viz.,  on 
the  skew ;  that  is  to  say,  when  they  cannot  be 
cut  across  the  joist.  Figs.  20  and  21  show  two 
shapes  of  hooks  for  pipe.  Fig.  20  is  the  old 
shape,  and  looks  the  best,  but  Fig.  21  is  handier, 
and  can  be  driven  with  the  hammer.  Fig.  22 
shows  a  hook  drift,  made  of  steel,  and  hardened. 
Fig.  23  shows  a  tan  pin ;  these  are  turned 
from  boxwood.  Further  instructions  in  the 
methods  of  fixing  will  be  given  next  month. 


544 


METAL-TURNING. 


METAL-TURNING. 

By  A  FOREMAN  PATTERN-MAKER. 


VII. — Boring— Drills— Drill  Plate. 
|HEEE  are  three  methods  of  boring  in 
the  self-acting  lathe  —  ( 1 )  that  in 
which  the  drill  or  boring  tool  is 
pinched  in  the  tool-holder  of  the  slide-rest,  and 
the  work  driven  by  the  headstock  ;  (2)  that  in 
which  the  tool  is  driven  round  by  the  headstock, 
and  the  work  secured  either  upon  the  saddle  of 
the  slide-rest,  or  allowed  to  take  its  bearing 
upon  a  boring  flange  fitted  over  the  nose  of  the 
poppet  mandrel ;  (3)  where  the  tool  is  carried  in 
a  boring  bar  or  head  running  between  centres, 
and  the  work  is  supported  upon  the  saddle  of 
the  slide-rest.  It  is  to  the  first  two  that  the 
present  article  will  have  reference. 

The  first  method  is  employed  more  than  the 
others  in  the  average  run  of  work,  and  there 
is  a  considerable  difference  in  the  tools  and  the 
clamping  arrangements  used  ;  thus,  for  drilling 
and  boring,  any  of  the  common  drills  and  bits 
are  used,  the  diamond  and  twist  drills,  the  flat 
and  D  bits,  the  solid  boring  lathe  tool,  and  tools 
held  in  various  holders.  The  chucks  employed 
may  be  any  of  the  ordinary  jaw  chucks,  both  inde- 
pendent and  universal,  or  bell  chucks  and  angle- 
plates.  With  short  work  these  are  sufficient, 
but  for  boring  long  work,  the  drill  being  held 
in  the  tool-holder  of  the  slide-rest,  the  free  end 
of  the  work  is  further  supported  in  the  cone- 
plate,  or  in  some  form  of  fixed  steady. 

The  common  form  of  diamond  drill  is  not  so 
well  adapted  for  lathe  work  as  are  the  other 
types.  The  special  tools  mostly  used  for  drilling 
in  the  lathe  are  the  flat  bit  (Fig.  30)  and  the  D 
bit  (Fig.  31).  Their  guidance,  particularly  that 
of  the  latter,  is  superior  to  that  of  the  common 
drills.  The  general  mode  in  which  they  are 
used  is  this  :  they  are  pinched  in  the  tool-holder 
of  the  slide-rest,  and  fed  along  to  their  work  by 
the  rest,  or  by  the  back  poppet.  The  slide-rest 
is,  therefore,  in  either  case  left  free  to  move 
along,  but  the  poppet  in  the  latter  is  clamped 
down  to  the  bed.  A  countersunk  hole  is  formed 
at  the  hinder  end  of  the  bit,  to  receive  the 
conical  centre  of  the  poppet  mandrel.    The  slow 


turning  of  the  poppet  hand- wheel  feeds  the  drill 
forward,  along  with  the  slide-rest. 

The  flat  bit  is  not  suitable  for  boring  a  hole 
through   solid  metal;    the    D    bit  will   do  so 
readily.     The  flat  bit  is  employed  for  enlarging 
and  finishing  holes  already  cored  or  punched. 
Blocks  of  wood  are  often  screwed  upon  the  sides 
of  the  bit,  and  turned  to  prevent  the  bit  from 
running  out  of  truth,  which,  in  consequence  of 
its  lack  of  good  guiding  edges,  it  is  apt  to  do. 
Bits  of  this  type  are  commonly  made  double 
ended,  two  bits  of  different  sizes  on  one  stem,  as 
shown  in   Fig.    30;   this  economises  steel  and 
store  space.     When  the  flat  bit  is  being  thrust 
forward  to  its  work  by  the  poppet  centre,  it  is 
prevented   from  rotation,    due    to   the  friction 
between  it  and  the  work,  by  means  of  a  boring 
rest.      These   are  formed  under  various  slight 
modifications  ;  a  form  suitable  for  a  small  lathe 
is  shown  in  Fig.  32.     This  is  a  casting,  slotted 
at  a,  to  receive  the  flat  bit,  and  provided  with  a 
stem,  b,  to  fit  into  a  common  socket-rest.    What 
are  called  "  boring  lathes,"  especially,  are  not 
provided  with  slide-rests,  but  with  socket-rests  ; 
also,  in  these  lathes,  the  top  bar,  c,  is  made 
separate  and  adjustable,  in  order  to  allow  the 
rest  to  receive  tools  of  various  thicknesses.     In 
a  lathe  fitted  with  a   slide-rest,   a  boring-rest, 
like  that  shown  in  the  figure,  is  not  required, 
because   the   bit   can  be  clamped  in  the  tool- 
holder,  and  so  fed  forward. 

The  D  bit,  Fig.  31,  possesses  ample  self- 
guidance,  owing  to  its  hemispherical  form.  The 
flat  bit  is  not  well  adapted  for  cutting  tough 
materials  like  wrought-iron  and  steel,  but  it 
serves  well  on  crystalline  cast-iron  and  brass. 
The  D  bit,  on  the  other  hand,  being  a  true 
cutting  tool,  takes  off  continuous  shavings 
from  the  fibrous  metals  and  alloys.  The  D 
bit  is  best  clamped  in  the  slide-rest.  In 
a  lathe  having  only  a  socket-rest,  the  bit  had 
better  be  driven  forward  by  the  poppet,  and 
have  a  flat  filed  somewhere  on  its  shank,  to  be 
embraced  by  a  lever  (Fig.  33),  upon  which  the 
turner  will  exercise  pressure  with  his  hand,  or 
hang  a  suitable  weight. 

The  common  form  of  boring  tool  for  iron  is 
that  shown  in  Fig.  34.  It  is  held,  like  other 
tools,  in  the   rest.      The  difference  between  it 


ME  TAL-  TURNING. 


545 


and  the  typical  turning  tool  is,  that  its  cutting 
point  stands  at  an  angle  with  the  shank — that  is, 
on  the  axis,  a  b — in  order  to  cut  more  nearly  in 
the  direction  of  its  travel. 

Where  deep  holes  are  being  bored,  it  is  better 
to  use  a  stiff  bar,  like  Fig.  35,  with  a  tool-point 
clamped  in  it.  The  shank  of  the  bar  is  pinched 
in  the  slide-rest. 


being  true,  and  the  angle-plate  true,  and  one 
face  of  the  work  to  be  operated  on  being  true, 
another  portion  of  the  work  can  be  tooled  either 
parallel  or  at  right  angles  with  its  first  true 
face,  depending  upon  the  position  in  which  it  is 
set  upon  the  angle-plate.  Thus,  having  the  foot 
of  a  plummer-block  planed  true,  we  want  to 
bore  the  bearing ;  bolt  the  foot  to  the  face,  b,  of 


F I  C .  30. 


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The  work  being  bored  is  held  by  the  various 
methods  already  described  in  previous  articles  ; 
there  is,  however,  one  very  common  method  of 
holding  work  for  boring,  not  yet  mentioned,  and 
that  is  by  means  of  an  angle-plate,  Fig.  36. 
Now,  a  great  deal  can  be  done  with  an  angle- 
plate.  It  is  planed  all  over,  in  order  to  be 
sufficiently  true  for  setting  work  upon.  The 
slotted   face-plate   upon   which   it    is    pinched 


the  angle-plate,  bolt  face,  a,  to  the  face-plate, 
and  adjust  the  angle-plate  by  its  slot-holes  until 
the  centre  of  the  bearing  coincides  with  the 
centre  of  the  lathe,  and  it  can  then  be  bored  at 
exact  right  angles  with  the  planed  foot. 

Or  to  chuck  a  cross-head  like  Fig.  37,  the 
face,  a,  of  one  of  the  bosses  might  be  bolted 
against  face,  c,  of  the  angle-plate,  and  the  boss, 
b,  be  faced  and  bored  up  for  the  piston  rod. 


546 


SIMPLE   ORNAMENTAL   TURNING. 


The  end,  b,  having  been  faced,  and  the  hole 
bored,  it  is  then  secured  by  means  of  this  hole  to 
the  face,  c,  of  the  angle-plate,  while  the  hole,  c, 
for  the  cross-head  pin  is  bored,  and  the  bosses 
faced.  The  face,  e,  being  true,  and  the  angle- 
plate  true,  the  two  holes  are  certain  to  be  at 
right  angles  with  each  other. 

Work  of  this  kind  when  heavy  produces  a 
jerky  motion  in  the  lathe,  due  to  the  unequal 
weight  of  the  mass  about  the  centre.  When  this 
happens,  a  counter-weight  is  usually  bolted  to 
the  face-plate  on  the  side  opposite  to  the  work, 
and  its  position  is  so  adjusted  as  to  equalise  the 
mass  as  nearly  as  possible. 

When  a  piece  of  work  is  so  long  that  it  cannot 
be  held  steadily  enough  during  boring  by  the 
dog  or  other  chuck,  then  its  opposite  end  is 
supposed  by  a  contrivance — usually  a  cone-plate 
boltedto  the  bed  of  the  lathe.  Isay  "usually," 
because  the  cone-plate  is  not,  by  any  means,  the 
only  contrivance  employed  in  workshops  ;  for  if 
we  have  to  bore  a  cylinder  guide,  obviously  that  is 
too  large  to  enter  the  largest  hole  in  a  cone-plate  ; 
and  then  one  of  the  fixed  lathe  steadies  is  used, 
or  a  strap  of  iron  (Fig.  38,  a)  is  bent  round  to 
embrace  its  upper  portion  only,  where  the 
principal  thrust  caused  by  the  tool  occurs  ;  the 
lower  end  of  the  strap  is  bolted  to  an  angle- 
plate,  33,  bolted  in  turn  to  the  lathe  bed.  But 
for  all  work  of  small  diameter,  the  cone-plate  is  a 
neater  appliance.  Its  holes  afford  a  moderate 
range  in  diameter,  and  since  all  of  them  alike, 
when  uppermost  are  central  with  the  lathe  centre, 
there  is  no  tedious  adjustment  necessary. 

The  drilling-plate,  slid  over  the  poppet  nose, 
is  used  only  for  light  drilling.  It  is  very  con- 
venient, because  it  saves  some  trouble  in 
adjustment,  the  work  being  simply  held  in 
position  against  the  plate  by  the  hand,  and  the 
drill  gripped  in  a  drill  chuck.  There  is  no 
trouble  in  resetting,  and  the  feeding  is  done  by 
turning  the  poppet  wheel. 


To  Polish  Deebiioens. — Scrub  with  a  brush 
and  sand ;  this  will  have  the  effect  of  clearing 
away  all  the  dirt  and  loose  fibre.  Polish  with 
rotten-stone  and  rouge,  using  a  cloth  ;  finally 
varnish  with  copal  varnish. — Scientific  American. 


SOME  CHAPTERS  ON 
SIMPLE  ORNAMENTAL  TURNING. 


Sy  J.  L.  DWYER. 


VII.- 


-instructions  for  turning  ornamental 
Patterns — Conclusion. 


;t|  IGr.  3  is  a  very  effective  pattern  for  the 
centre  of  the  top  of  a  box  or  other 
similar  piece  of  work.  The  edges  are 
done  round  with  the  fluting  cutter ;  but  the  star 
is  the  principal  ornament ;  it  is  also  made  with 
the  fluting  cutter,  and  is  rather  a  difficult  piece 
of  work.  Three  stops  are  required,  namely,  a 
depthing  stop,  and  two  for  the  cross  slide. 
First  turn  up  the  blank,  and  then  fix  the  fluting 
cutter,  with  its  spindle  vertical,  and  a  nice  sharp 
V-tool,  in  the  tool  hole.  The  tool  ought  to  be 
just  a  shade  higher  or  lower  than  the  centre  of 
the  work,  which  will  cause  it  to  leave  the  point 
in  the  centre  of  the  star.  The  direction  pulleys 
of  the  fluting  cutter  will,  of  course,  come  into 
requisition. 

Start  the  tool  and  advance  it  until  it  has  cut 
the  wood  about  A  inch  deep,  then  fix  the  depth- 
ing stop  ;  fix  also  a  stop  which  will  prevent  the 
tool  cutting  back  further  than  the  centre  of  the 
work ;  then  draw  out  the  tool  until  the  cut  is 
sufficiently  long  for  the  longest  ray  of  the  star. 

1  ought  to  have  mentioned  that  the  index-pointer 
should  be  at  the  zero  of  the  112  row  of  holes. 
Withdraw  the  tool  now,  put  the  index-pointer  to 
hole  14,  cut  another  ray  from  the  outside  in, 
then  withdraw  tool  again ;  put  pointer  to  28,  cut 
another  ray  from  centre  to  outside,  this  time,  and 
so  on,  until  the  8  longest  rays  of  the  star  are 
made.  Now  put  the  pointer  into  hole  7,  and 
cut  the  shortest  ray,  then  put  it  on  to  21,  and 
cut  another,  and  so  on,  putting  one  short  between 
each  of  the  long  ones.  Now  put  the  pointer 
into  hole  2,  and  cut  the  second  ray,  the  next  to 
the  long  ones,  fix  the  stops,  then  put  the  pointer 

2  holes  before  zero,  and  cut  a  ray  which  will  be 
the  same  distance  at  the  other  side  of  the  long 
ray  as  the  one  we  just  cut.  Go  to  2  holes  before 
14,  and  cut  a  ray,  then  to  2  after  14,  then  to  2 
before  28,  and  to  2  after,  and  so  on,  not  changing 
the  stops  until  this  complete  round  of  16  rays  of 
equal  length  are  made,  one  at  each  side  of  the 


BOW  TO  MAKE  A   PORTABLE    WHOLE-PLATE   CAMERA. 


547 


long  ones.  Then  make  a  series  of  still  shorter 
rays,  but  this  time  4  holes  at  each  side  of  0,  14, 
28,  and  so  on  ;  and,  lastly,  make  a  series  of  still 
shorter  rays,  but  6  holes  at  each  side  of  0,  14, 
2S,  etc.,  and  this  'will  complete  the  star. 

Note  that  during  this  whole  job  the  depthing 
stop  remains  fixed,  and  also  the  stop  which  pre- 
vents the  tool  from  goiDg  back  beyond  the  centre 
of  the  work ;  it  is  only  the  front  stop  which 
regulates  the  lengths  of  the  rays  that  is  changed. 

Judgment  should  be  used  to  have  the  rays 
decrease  as  uniformly  as  possible  in  length. 

Fig.  4  is  for  a  pincushion,  and  is  easily  made  : 
but  it  shows  a  different  kind  of  work  to  any  we 
have  seen  yet.  The  blank  is  first  turned  and 
hollowed  out,  then  4  deep  notches  are  turned  all 
round,  about  \  inch  apart ;  the  band  is  taken  off 
the  lathe,  and  the  overhead  and  eccentric  cutter 
are  mounted. 

The  intersecting  rings  at  the  bottom,  and  non- 
intersecting  rings  at  the  top,  are  easily  made ; 
but  the  part  representing  bricks  with  cross  nicks, 
is  done  in  a  peculiar  way.  A  pointed  tool  is  put 
into  the  cutter,  and  it  is  brought  to  the  centre, 
as  it  revolves  ;  then  if  the  point  be  inserted  in  a 
piece  of  wood,  and  the  tool  drawn  along,  it  will 
cut  a  furrow.  The  up  and  down  nicks  are  done 
by  this  means. 

There  are  1 0  bricks  in  each  row.  For  the  first 
row  the  pointer  is  put  into  zero  of  100  circle, 
then  the  tool  is  put  into  the  top  ridge  already 
turned,  and  it  is  drawn  across  until  it  enters  the 
second  ridge  ;  the  pointer  is  then  put  on  to  10, 
and  another  nick  cut,  and  so  on  all  round.  The 
second  row  of  bricks  is  done  the  same  way,  but 
care  is  taken  to  begin  at  5,  and  then  go  on  to 
13,  that  the  bricks  might  break  the  joint. 

The  ornamentation  between  the  bricks  and 
the  base  is  done  by  putting  a  round-pointed  tool 
in  the  eccentric  cutter,  and  keeping  it  at  the 
centre ;  start  from  95  of  the  circle  100,  and 
slowly  revolve  the  work  until  the  pointer  goes 
into  hole  5  ;  then  skip  5,  advance  the  tool  till  it 
cuts  a  circle,  or  just  a  circular  depression ;  then 
skip  5  again,  go  on  through  10,  cutting  an 
elongated  hollow,  and  a  dot,  alternately. 

This  concludes  my  description  of  woodwork  ; 
but  thousands  of  other  patterns  may  be  cut  with 
those  simple  tools. 


To  cut  toothed  wheels,  a  cutter  is  made  for 
the  fluting  cutter,  just  the  shape  of  the  space 
between  the  teeth.  The  blank  wheel  is  mounted 
on  a  mandrel,  or  on  a  wooden  face-plate ;  and 
the  spindle  of  the  machine  being  vertical,  it  is 
advanced  horizontally,  until  it  cuts  out  a  tooth  ; 
then  the  pointer  is  put  on,  another  tooth  cut  out, 
and  so  on.  This  is  easily  done  in  brass  or  gun- 
metal.  The  size  of  the  teeth  will  have  a  relation 
evidently  to  the  size  of  the  wheel  and  the 
number.  For  example,  find  the  size  of  a  cutter 
for  teeth  of  a  wheel  2  inches  diameter,  and  with 
40  teeth.  Circumference  of  wheel  is— 3-1416  x  2 
=  6-2832  inches ;  now  there  are  40  teeth  and 
40  spaces,  i.e.,  80  ;  divide  6-2832  by  80  =  -07854, 
or  about  A  of  an  inch. 

I  may  say,  in  conclusion,  that  I  hope  many  of 
the  readers  of  Amateur  "Wouk  will  derive  as 
much   pleasure    from    ornamental    turning    as 

I  have. 

_^» 

HOW  TO    MAKE  A  PORTABLE 
WHOLE-PLATE  CAMERA 

FOE     FIFTEEN     SHILLINGS. 
By  SEMPER  F1DELIS. 


(For  Illustrations   to   this  Article,  see   the  Folding   Sheet 
presented  with  this  Fart.) 


1EEHAPS   the   first   thought   that  will 
S$)  I     strike  some  of  my  readers  when  they 
they  see   the  above  heading,  is  that 


the  writer  did  not  go  quite  far  enough,  and 
should  have  made  it,  "  How  I  made  a  Whole- 
Plate  Camera  out  of  a  Second-hand  Cigar-box." 
These  are  people  who  proceed  to  criticise  every- 
thing ;  but  let  me  assure  my  readers  that  the 
above  can,  and  has  been  actually  done  by  me. 

I  do  not  say  that  this  camera  is  made  of  the 
best  mahogany,  nor  the  bellows  of  morocco 
leather  ;  neither,  on  the  other  hand,  is  it  paste- 
board or  any  such  rubbish  ;  but  it  is  of  pine,  and 
is  as  perfect  and  decent-looking  as  anyone  could 
wish.  I  must,  however,  state  here  that  I  did 
not  make  the  dark  slides  myself  ;  I  kept  my  eyes 
open  for  a  cheap  double  slide,  as  I  thought  that 
by  waiting  a  while  I  could  get  a  good  one  for 
less  than  the  amount  charged  by  most  makers. 
I   managed   very  soon   to   get   exactly  what  I 


548 


HOW  TO  MAKE  A   PORTABLE    WHOLE-PLATE   CAMERA. 


required  from  a  manufacturer  in  my  own  town  ; 
he  had  an  odd  slide,  which  he  said,  if  it  suited 
me,  he  would  let  me  have  for  6s.  Needless  to 
say,  I  jumped  at  it.  This,  then,  is  the  initial 
expenditure  for  my  camera.  "  Oh,  but,"  says 
the  critic,  "  where  do  you  expect  us  to  get  a 
chance  like  that  ?  I  knew  there  was  some 
secret  in  it."  Well,  surely,  double  slides  are 
not  to  be  had  new  every  day  for  6s.,  but  they 
are,  however,  for  10s.  and  12s.  each,  and  of  the 
block  form  even  a  shilling  or  two  less  (Messrs. 
Talbot  and  Earner,  of  Blackburn,  will  give  them 
at  these  prices) ;  but,  then  again,  a  good  second- 
hand slide  is  not  to  be  despised. 

When  I  got  the  slide,  I  did  not  let  the  grass 
grow  under  my  feet,  but  soon  had  taken  a  picture 
in  it.  I  was  determined  to  have,  if  possible,  all 
the  usual  movements  to  my  camera,  if  they  did 
not  make  much  difference ;  so  after  a  good  deal 
of  consideration  and  planning,  I  arrived  at 
the  camera  now  under  consideration.  I  have 
contemplated  improvements  on  this  camera  from 
time  to  time,  but  have  concluded  that  as  it  now 
stands  it  is  as  good  as  the  best. 

Constructing  a  reversing  frame  to  suit  the 
slide,  seems  rather  like  building  a  house  because 
one  has  a  chimney-pot ;  but  I  did  not  find  the 
least  trouble  about  that.  I  had  to  make  the 
reversing  frame  from  my  recollections  of  a  former 
one,  once  my  daily  companion,  but  now  many 
miles  distant.  The  frame  is  made  in  three  parts  : 
first,  the  part  that  fits  inside  the  camera,  which 
forms,  with  another  frame,  the  rebate  ;  then  the 
two  pieces  which  form  the  rebates  for  the  dark 
slide  to  fit  in.  (Please  refer  to  the  drawings  for 
sizes  and  position  of  these  three  parts,  and 
thoroughly  master  them,  unless,  of  course,  you 
are  already  well  acquainted  with  reversing 
frames.) 

In  the  double  slide  that  I  was  fortunate 
enough  to  get,  instead  of  having  the  rebates 
carried  along  their  whole  length,  to  push  the 
slide  into  the  camera,  only  small  portions  of  the 
rebates  were  left,  the  other  parts  being  cut 
away,  which  was  a  great  improvement ;  as, 
instead  of  having  to  push  home  the  slide  10  or 
1 1  inches  through  its  groove  every  time,  and  pro- 
bably often  shifting  the  whole  camera,  they  were 
merely  laid  on  and  pushed  about  H  or  2  inches, 


the  comfort  of  which  must  be  experienced  to  be 
appreciated.  This  trick  or  idea  is  as  old  as — I 
was  about  to  say  Adam — -perhaps  I  had  better 
say  Archer ;  but  I  had  not  seen  it  applied,  except 
to  very  large  cameras,  such  as  24  by  18  inches, 
and  the  like. 

After  the  reversing  frame  was  made  and  put 
together,  I  made  that  part  which,  for  want  of  a 
better  name,  I  will  call  the  box-body.  This  was  a 
very  simple  affair  indeed ;  not  being  much  of  a 
hand  at  dovetailing,  I  merely  halved  one  piece, 
and  glued  it  to  the  edge  of  the  other,  screwing 
it  also  through  the  halved  piece  from  the  top. 

The  next  part  was  the  falling  front,  which 
corresponds  to  the  tail-board  in  most  cameras. 
This  is  made  of  f-inch  stuff,  planed  down,  with 
cleats  tongued  and  grooved  on  the  sides  thereof ; 
this  part  and  the  bottom  are  made  in  one  piece, 
and  afterwards  sawn  asunder.  The  bottom,  . 
when  cut  off,  is  hinged  to  the  falling  front,  and 
glued  and  screwed  on  to  the  bottom  of  the  box- 
body  ;  but,  before  being  glued,  the  hole  for  the 
screw  of  the  stand,  as  shown  in  the  drawings,  is 
cut,  and  also  the  groove ;  the  top  side  of  the 
bottom  is  hollowed  out  round  the  edge  of  the 
groove,  so  that  the  head  of  the  camera  screw 
slides  along  above  one  piece  and  below  the  other. 
The  screw  is  never  taken  from  the  tripod  head, 
but  pushed  up  into  the  hole,  and  slid  along 
until  it  can  go  no  further,  and  then  clamped  in 
the  middle.  There  is  no  fear  of  the  camera  and 
stand  coming  asunder,  and  much  time  is  saved 
in  pulling  the  screw  in  and  out,  and  screwing 
the  nut  off  and  on  each  time ;  this  plan  is  as 
good  as  any  patent  catch,  and  much  cheaper. 

The  falling  front  being  hinged  to  the  bottom, 
and  the  latter  being  screwed  up,  the  next  thing 
is  to  trim  off  the  edges  of  both  with  the  plane, 
and  make  them  even  all  round. 

Next  we  have  the  movable  platform  or 
focussing  piece,  which  corresponds  to  a  rack 
and  pinion  arrangement  which  is  not  at  all 
indispensable;  it  is  doubtless  very  handy,  but 
equally  as  good  focus  can  be  got  without  it — in 
fact,  I  never  feel  the  need  of  such  an  arrange- 
ment. It  is  a  very  ordinary  affair,  being  simply 
a  plain  piece  of  f  inch  stuff,  clamped  with 
tongued  and  grooved  ends,  and  running  in 
rebate  pieces,  the  rebates  being  neatly  cut  out 


HOW  TO  MAKE  A   PORTABLE    WHOLE-PLATE    CAMERA. 


549 


■with  a  cutting  gauge  ;  these  rebate  pieces  are 
glued  and  screwed  on  to  the  inside  of  the  falling 
front,  and  are  an  additional  help  to  keep  the 
latter  from  warping  or  twisting.  In  this  fo- 
cussing piece,  a  small  set  screw  is  inserted, 
which  runs  up  and  down  the  groove  cut  in  the 
falling  front,  and  is  screwed  up  to  keep  the 
board  from  shifting  when  the  focus  is  obtained. 

We  now  come  to  the  brass-work,  and  we  must 
make  or  buy  the  hinges  that  support  the  front 
which  carries  the  lens.  I  made  mine,  but,  of 
course,  they  are  not  quite  so  pretty  in  appear- 
ance as  shop  ones,  but  do  the  work  just  as  well. 
This  is  the  way  I  made  them  :  I  procured  two 
strips  of  sheet-brass,  and  drilled  a  row  of  holes 
along  each  piece  touching  each  other,  and  filed 
out  the  space  neatly  afterwards  ;  the  strips  thus 
prepared  I  soldered  on  to  hinges  of  the  same 
width,  which  were  then  screwed  to  the  corners  of 
the  focussing  piece  or,  rather,  to  the  clamp  that 
is  screwed  and  glued  on  to  the  focussing  piece. 
These  hinges,  with  the  aid  of  the  milled  screws, 
produced  perfect  rigidity.  These  hinges  fold 
down  one  over  the  other,  and  therefore  lie 
perfectly  flat,  and  take  up  no  room.  I  have 
since  formed  another  idea  for  the  hinges,  which 
I  show  in  the  drawings  as  an  alternative  design  ; 
in  this  case  the  brass  is  left  solid,  and  small 
slots  only  are  cut  in  the  brass,  with  a  large  hole 
at  the  top  of  the  slot  to  admit  the  screws  of  the 
lens  front  (these  screws  are  never  taken  out  of 
the  front),  which,  when  moved  into  place,  are 
tightened  up  as  usual.  The  screw-heads  in  this 
case  will  be  much  smaller,  but  very  small  screws 
will  suffice  to  keep  the  front  in  place.  I  also 
give  a  design  for  a  wooden  hinge  to  those  who 
may  prefer  them ;  they  are  intended  to  be  made  of 
fret  wood,  and  have  two  small  hinges  to  each. 

The  next  thing  for  consideration  is  the  lens- 
carrying  froat.  It  has  four  small  strips  to  form 
the  frame,  and  a  flat  piece  glued  thereon.  The 
edge  of  this  front  must  be  wide  enough  to  admit 
of  the  bosses  of  the  set-screws,  and  also  for  the 
hinge  to  lie  flat  against  it.  This  front  may  be 
plain,  and  a  hole  just  cut  in  it  to  fit  the  flange 
of  the  lens  ;  or  the  hole  may  be,  as  in  my  case, 
made  large  with  small  rebate  strips  to  take 
other  lenses  we  possess  or  may  obtain  at  any 
future  time.    Now   we  must  procure  the  two 


brass  stays  or  stretchers  at  the  sides  ;  they  are 
plain  pieces  of  sheet-brass,  cut  out  in  the  way  as 
already  described,  and  held  with  milled  head- 
screws. 

The  bellows  are  made  of  paper  and  black 
twill  calico,  tapering ;  a  square  one  is  easier 
made,  but  the  taper  one  is  very  little  extra 
trouble,  and  has  the  additional  advantage  of 
looking  prettier ;  it  is  also  lighter,  and  may  be 
folded  up  into  a  marvellously  small  space. 
There  is  no  great  art  in  making  the  bellows ; 
only  a  little  care  and  caution  are  required. 
First,  get  a  large  sheet  of  brown  paper,  and 
mark  upon  it  the  top,  16  inches  long  and 
912  inches  broad  at  the  large  end,  and  GJ  inches 
wide  at  the  narrow  end ;  be  careful  to  have  it 
true,  and  not  askew  ;  at  each  side  mark  off  the 
sides  same  size  as  the  top  ;  then  at  the  sides  of 
those  mark  off  rather  more  than  half  bottom  on 
each  side  ;  the  odd  measurement  over  is  to  form 
the  piece  to  be  lapped  and  glued.  When  these 
measurements  are  drawn  out,  we  have  a  diagram 
like  that  shown  in  the  drawings,  and  ft  has  to  be 
ruled  for  the  folds  1  inch  apart ;  and  the  whole 
paper  must  be  glued  to  the  calico  with  a  mixture 
of  good  thin  glue  and  treacle,  about  three  of  the 
former  to  one  and  a-half  of  the  latter ;  when 
this  has  nicely  set,  but  not  dried  hard,  fold 
over  the  work  to  the  pencil  lines  alternately, 
forward  and  backward  ;  this  is  a  little  awkward 
at  first  at  the  corners,  but  when  we  have  well 
begun,  it  gets  easier,  and  continues  so  as  we  go 
on.  When  all  is  folded  nicely  and  evenly,  open 
it  out,  and  glue  the  laps  at  the  bottom,  taking 
care  that  they  are  correct ;  and  when  that  is  dry, 
fold  in  the  corners  up  and  down  every  second  one, 
and  with  the  fingers  and  thumb  "pinch up "  the 
edge  ;  this,  to  one  who  has  not  tried  it,  is  rather 
incomprehensible,  but  may  be  easily  accom- 
plished. When  these  are  done,  glue  the  bellows 
into  place,  and  keep  it  there  with  small  flat  laths, 
glued  and  screwed  on  inside ;  the  screws  must 
be  short,  so  as  not  to  go  through  the  front ; 
small  laths  will  also  keep  it  in  place  in  the  box- 
body  part  in  the  same  way. 

The  next  thing  to  be  made  is  the  focussing 
frame.  This  is  merely  four  pieces  mitred  and 
glued,  and  additionally  strengthened  by  a  saw- 
cut  cleat  at  each  corner.     This  frame  will,  of 


5.50 


LIMES  FOR    THE   LANTERX. 


course,  be  rebated  to  tbe  same  distance  as  tbe 
dark  slide,  and  tbe  glass  will  be  kept  in  place 
by  small  pieces  of  sbeet-brass,  screwed  diagon- 
ally on  to  the  corners.  This  glass  may  be  bought 
for  6d.  or  8d.,  but  you  may  easily  make  it : 
simply  get  a  pennyworth  of  flour  emery,  and 
gradually  shake  it  into  an  old  jam-pot  three 
parts  full  of  water  in  such  a  manner  as  to  have 
the  finest  particles  floating,  whilst  the  coarse 
grains  sink  ;  skim  off  the  fine  stuff,  and  go  over 
with  this  on  a  plain  piece  of  glass  with  some 
hard  substance,  such  as  a  block  of  flat  marble, 
bit  of  an  old  chimney-piece,  or  a  bit  of  sheet- 
tin  rolled  round  a  wood  block,  until  you  have 
ground  it  just  beautifully.  By-the-bye,  frost 
the  side  of  the  glass — that  is,  concave ;  there  is 
a  hollow  side  to  all  sheet-glass ;  you  will  soon 
be  quite  proficient  in  this — ten  minutes  will  do 
the  whole  thing ;  the  edges  will  require  the 
most  consideration,  as  the  work  in  the  centre  is 
heavier,  and  that  part  becomes  worn  in  a  very 
short  time. 

Now  foWthe  finishing  touches.  The  focussing 
frame  is  hinged  to  the  camera-top  by  hinges 
made  for  the  purpose,  and  which  throw  it  back 
on  the  camera  when  raised  up.  These  I  did  not 
attempt  to  make,  but  anyone  used  to  sheet-metal 
work  would  find  no  difficulty  in  doing  them.  A 
small  button  at  the  bottom  keeps  the  focussing 
glass  in  place,  a  pair  of  clips  keep  the  reversing 
frame  at  the  top,  and  two  small  plates  of  brass 
keep  it  below  ;  two  small  clips  hold  the  falling 
front  up  when  closed,  and  two  brass  staples  and 
a  leather  handle  on  top  complete  the  machine. 
All  that  remains  is  to  blacken  the  whole  affair 
inside  with  lampblack  mixed  up  with  gold 
size ;  mis  it  well,  and  do  not  let  the  size  be  too 
thin  ;  stain  and  polish  all  the  outside  to  imitate 
walnut. 

This  camera  has  reversing  frame  for  oblong 
or  upright  pictures,  and  rising  and  falling  front 
effected  with  the  stays  and  screws,  and  folds  up 
into  the  incredibly  small  space  of  11 -J  by  10|-by 
4J  inches  without  the  slide. 

The  reader  will  observe  that  lenses  of  any 
focus  shorter  than  whole-plate  may  be  used 
with  this  machine  ;  all  that  has  to  be  done  is  to 
take  the  focussing  piece  out,  and  put  it  in  the 
other  way,  in  which  case  he  will  have  the  front 


supporting  hinges  at  the  very  farthest  back 
position. 

I  shall  be  most  happy  to  give  all  the  help 
I  can  to  anyone  undertaking  the  making  of  this 
camera,  which,  although  looking  formidable  on 
paper,  is  really  not  so. 

I  will  only  add,  that  one  side  of  my  reversing 
frame  is  wider  than  the  other,  because  of  the 
make  of  my  dark  slide.  Messrs.  Watkinson  and 
Lonsdale,  of  Leeds,  will  supply  the  brass-work 
at  very  low  prices. 


LIMES  FOR  THE  LANTERN  ; 

HOW  TO  MAKE  THEM. 

By   W.  A.  ALLEN. 


HEN  money  is  no  object,  the  best  way 
is  to  buy  limes  of  the  lantern  sellers  ; 
but  very  few  of  them  keep  the  best, 
and  it  is  very  difficult  to  get  a  box  of  reliable 
ones  suitable  for  first-class  work. 

Why  it  should  be,  has  always  been  a  mystery 
to  me,  as  the  process  of  making  is  very  simple, 
the  tools  are  few,  materials  are  cheap,  and  the 
profits  enormous. 

Now,  here  is  a  wrinkle  for  everybody  con- 
cerned. I  believe  it  possible  to  make  a  gross,  per- 
fect in  shape,  size,  and  quality,  for  one  shilling  at 
the  outside,  perhaps  for  less  ;  and  this  includes 
all  expenses  except  rent.  The  price  paid  by 
wholesale  houses  and  large  consumers,  such  as 
theatres,  for  very  inferior  ones,  is  about  twelve 
shillings  per  gross  ;  that  is,  eleven  shillings 
profit. 

There  is  fashion  in  limes,  like  everything  else, 
and  the  fashion  is  to  use  round  ones  (Fig.  1), 
about  1£  inches  high  and  f  inch  in  diameter, 
with  flat  ends  and  £  inch  hole  in  the  centre. 

To  make  them  for  common  work,  such  as  lime- 
lights at  theatres,  tableaux,  etc.,  simply  saw  the 
limes  into  little  squares,  drill  the  hole,  and  round 
up  with  a  file  or  a  knife.  But  for  first-class 
work  this  would  never  do,  as  if  the  hole  was  not 
in  the  centre,  or  if  the  lime  is  not  exactly  true, 
it  would,  when  in  the  apparatus,  be  either  too 
close  or  too  far  from  the  burner. 

And  in  a  magic  lantern  everything  should  be 


LIMES  FOR    THE  LANTERN. 


551 


true  as  clockwork,  to  enable  the  lantern  to  be 
worked  for  the  entire  length  of  the  entertain- 
ment without  once  opening  the  doors  for  any 
purpose  whatever. 

The  general  way  adopted  for  making  limes  is 
to  saw,  as  before,  into  slices  the  exact  thickness 
required,  and  then  into  little  squares.  This  may 
be  done  without  measuring,  by  securing  two 
or  more  saws  together,  thus  guiding  and  saw- 


this  manner,  and  a  dozen  different  ways  will  at 
once  suggest  themselves  for  improving  and  sim- 
plifying the  apparatus,  one  of  which  I  will 
explain,  which  will  enable  a  lad  of  little  or  no 
experience  to  make  as  many  in  one  hour  as  a 
first-class  turner  will  make  by  the  old  method 
in  a  week. 

On  the  bed  of  the  lathe,  near  headstock,  have 
two  plates  or  a  little  casting  (see  Fig.  6).  In  line 


nc.  i. 


FIC 

.0. 

ric. 

*. 

o 


C.2. 


DESCRIPTION   OF  FIGURES. 


FIG.  I.— ROUND  LIME  WITH  HOLE  IN  CENTRE.  PIG.  2. — FLAT  LIME  TO  FIT  IN  HOLDER.  FIG.  3. — SPINDLE  WITH  WHEEL 
MOUNTED  AND  HOLE  THROUGH  TO  TAKE  DRILL.  FIGS.  4  AND  5. — CLUSTER  OF  SPINDLES  TO  MAKE  A  DOZEN  LIMES 
AT  ONCE.       FIG.  6. — THE  TOOL  MOUNTED   BETWEEN    THE    CENTRE  OF  THE  LATHE. 


ing  off  at  the  same  time.  Now  drill  holes  in 
them,  as  near  the  centre  as  possible,  chuck  them 
on  a  little  square  mandrel,  and  turn  them  to  size 
in  the  ordinary  way. 

This  will  be  somewhat  difficult,  as  the  lime 
will  not  stand  the  pressure  of  the  tool ;  and  if 
you  get  a  dozen  perfect  ones  out  of  one  hundred 
blocks,  then  I  should  say  you  have  done  well. 
Thus  the  skill  required  will  explain  why 
exorbitant  prices  are  charged. 

But  the  very  smallest  amount  of  thought  will 
show  how  utterly  ridiculous  it  is  to  make  them  in 


with  the  centres  of  the  lathe  drill  a  hole  to  take 
a  cutter,  and  drill  eleven  holes  around  it  also  to 
take  cutters,  each  mandrel  or  spindle  to  have  a 
little  cogwheel  mounted  on  it  in  such  a  manner 
that  they  all  will  be  driven  by  the  centre  one. 
Small  change  wheels  are  just  the  thing,  andean 
be  bought  for  3d.  each.  The  cutters  are  made 
of  steel  tube  with  saw-shaped  teeth,  and 
mounted  with  a  drill  in  the  centre. 

This  is  really  a  little  milling  machine,  and  it 
will  be  seen  that  if  the  limestone  is  sawn  in 
slices,  and  pushed  against  the  cutters,  a  dozen 


552 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


perfect  limes  will  be  made,  all  complete  and 
mathematically  true,  in  a  few  seconds  ;  but  the 
limes  will  be  held  in  the  steel  cutters,  and 
some  dodge  must  be  resorted  to  to  get  them 
out.  A  slot  cut  in  the  side  will  do,  as  you  can 
insert  the  tang  of  a  file,  and  lever  them  out. 
But  as  I  am  telling  you  how  to  make  a  fortune 
out  of  it,  I  must  give  you  some  better  way  than 
that.  The  way  I  managed  was  by  mounting  the 
wheel  twenty  teeth  and  sixteen  pitch  on  to  a 
hollow  spindle  (see  Fig.  3),  with  a  pivot  at  the 
back  end,  and  the  front  one  having  a  screwed 
nose  to  take  the  cutter.  In  the  centre  is  mounted 
a  steel  rod,  one  end  being  formed  into  the  drill, 
having  a  collar  on  the  bottom  (see  Fig.  4).  A 
flat  filed  on  the  one  side,  to  allow  it  to  slide  at 
the  centre,  and  to  turn  with  the  cutter. 

To  get  the  limes  out  of  the  tubes,  push  the  end 
of  the  drill,  and  they  will  fall  off.  If  another 
plate  is  mounted  between  the  end  of  the  drills 
and  the  headstock,  it  can  be  put  in  position  to 
thrust  the  limes  out  by  the  motion  of  bringing 
back  the  block  of  lime.  In  fact,  it  would  be  no 
difficult  matter  to  make  a  self-acting  machine 
that  would  convey  the  rough  block  of  stone  lime 
into  the  cylinders,  and  even  to  pack  them  in 
cases.  But  as  some  day  the  profession  will  wake 
up  to  the  fact  that  limes  with  holes  are  wrong, 
and  with  a  little  flange,  instead  of  the  usual  pin, 
the  hole  is  not  necessary.  But  the  best  of  all  is 
the  flat  lime,  say  2  inches  in  diameter  and  \ 
inch  thick  ;  it  gives  a  better  light,  and  if  it  does 
crack,  it  will  not  fall  to  pieces,  and  the  light 
will  therefore  not  be  interfered  with.  Of  course, 
the  great  thing  is  where  to  get  the  proper  sort 
of  lime,  which  is  black  marble,  burnt  in  a  kind 
of  furnace  called  a  kiln,  and  will  not  make  a 
mark  if  rubbed  against  anything.  All  the  lime 
in  the  London  district  is  of  the  chalk  kind,  and 
consequently  is  at  best  of  but  very  little  good, 
except  for  low  pressure  or  blow-through  burner 
of  the  very  commonest  kind ;  Nottingham, 
Sheffield,  Pembroke,  and  Liverpool  being  the 
best  that  I  have  found,  especially  the  latter, 
which  is  more  close  in  the  grain,  firm,  and  just 
the  right  hardness  for  the  most  powerful  burners. 
I  have  lighted  up  a  circus  with  one  immense 
cluster  of  burners,  25,000-candle  power,  for 
three  hours,  without  attention  in  any  way,  and 


I  had  to  make  many  experiments  before  I  could 
get  the  lime  to  stand  it.  I  had  the  limes  packed 
in  barrels  from  the  different  districts  ;  but  all 
to  no  purpose,  as  I  had  to  go  to  Liverpool, 
personally  cut  the  lime  on  the  spot,  pack  in  air- 
tight boxes,  and  seal  down  immediately.  This 
was  a  perfect  success  ;  so  the  moral  is,  simply, 
"  Do  not  attempt  to  make  limes  in  London,  but 
select  a  place  near  a  lime-kiln  producing  the 
right  sort  of  article ;  make  and  pack  it  on  the 
spot,  and  do  not  forget  your  chief  or  only  enemy 

is  damp." 

♦ 

ELECTRIC   LIGHTING  FOR 
AMATEURS. 

By  OREGORIE  EDOUIN  BEY. 


V. — Electric  Lighting  by  Accumulators  or  Secondary 
Batteries— Plates  for  Accumulators— Forming 
the  Plates— Making  and  Charging  the  Cells. 
HEN  an  amateur  has  an  abundance  of 
spare  power  at  his  command,  and  a 
suitable*  dynamo  electric  machine  of 
sufficient  power,  he  may  use  both  in  storing  up 
electric  energy  in  accumulators  or  secondary 
batteries.     The  machine  may  be  run  during  the 

daytime,  and  em- 
ployed in  charging 
the  accumulators, 
and  the  charge 
may  be  used  at 
night  in  lighting 
electric  lamps. 
This  is  not  an 
economical  method 


of 


getting 


FIG.  12. 

arrangement  of  plates 
accumulator  cell. 


electric  light,  for 
there  is  always  a 
waste  of  from  20 
to  30  per  cent,  of 
power  incurred  in  this  transmission  and  conver- 
sion of  energy.  That  is  to  say,  the  same  power 
which  would  light  up,  say,  ten  lamps  of  10- 
candle  power  when  used  direct  from  the  dynamo, 
would  only  light  up  some  seven  or  eight  of  those 
lamps  by  means  of  accumulators.     Or,  to  put  it 

*  Dynamos  giving  alternating  currents,  are  useless  for 
charging  accumulators,  whilst  series  wound  machines,  and 
those  with  two-part  commutators  may  be  deemed  unsuitable. 


ELECTRIC   LIGHTING  FOR  AMATEURS. 


.553 


in  another  way,  if  we  want  to  light  up  ten 
lamps  of  10-candle  power  for  three  hours,  we 
shall  have  to  charge  the  cells  with  as  much 
current  as  would  have  kept  the  same  number  of 
lamps  going  for  four  hours. 

Acjumalators  are  also  costly.  The  cells  cost 
from  1.5s.  to  £1  each  cell,  according  to  the 
workmanship  put  in  the  cell,  and  it  will  need 
six  such  cells  to  light  up  a  10-volt  lamp,  the 
general  estimate  being  one  cell  to  each  two  volts 
of  the  lamp,  and  an  extra 
cell  to  overcome  resistance 
in  the  leading  wires.  "What 
is  there  in  an  accumulator 
to  cost  so  much  ?  It  is  only 
made  up  of  a  few  pounds  of 
lead,  and  red  lead,  and  a 
wooden  box  !  Ah  !  there  is 
beside,  human  sinew,  and 
musele,  and  brains,  all 
vulgarly  classed  under  the 
single  word — labour.  This 
must  be  paid  for  as  well  as 
the  material.  If  our  ama- 
teur can  furnish  his  own 
labour,  the  cost  will  be 
much  lessened.  Then,  again, 
there  is  added  to  labour, 
the  factor  time,  and  this  is 
most  important  in  the  con- 
struction of  accumulators  ; 
for  there  is  a  part  of  the 
work  that  cannot  be  hurried, 
namely,  that  of  forming  the 
plates.  If  my  readers  can 
furnish  time  and  labour,  I 
will  give  instructions  how 
to  utilise  both,  and  then 
the  cost  to  be  considered  will 
only  be  that  of  the  material. 

Plates  for  Accumulators. — These  are  made  of 
•sheet  -  lead  specially  prepared,  as  described 
below ;  any  thickness  of  sheet-lead  may  be 
used,  provided  it  be  thick  enough  to  remain  as 
a  sheet  without  buckling  after  it  has  been 
subjected  to  the  preparing  treatment.  Next  to 
this  for  our  consideration  is  weight,  and  as  thick 
lead  would  make  cells  weighty,  we  must  select 
a  medium   thickness   of  lead  if   weight   is  an 


DESCRIPTION  OF  FIGURES. 
FIG.  8. — SHAPE  OF  ACCUMULATOR  PLATE.  FIG.  9. 
— PLATE  RULED  WITH  FINE  LINES.  FIG.  IO. — 
PLATE  PARTLY  PERFORATED.  FIG.  II. — FORM 
OF  PLATE  FOR  LARGE  CELL.  FIG.  13. — METHOD 
OF  SOLDERING  THE  LUGS  TO  LEAD  BAR. 


objection,  as  in  the  manufacture  of  pocket  accu 
mutators.  Perhaps  the  best  thickness  for  all 
general  purposes  will  be  iV  inch,  or  that  known 
as  o-lb.  lead  will  do  very  well.  The  size  of  the 
plates  will  depend  upon  the  work  we  have  to  do 
with  them ;  that  is  to  say,  we  must  choose  the 
size  of  plates  according  to  the  ampere  strength 
of  current  we  want  out  of  the  battery.  The 
current  yielded  by  the  plates  of  a  fully-charged 
accumulator  is  equal  to  six  amperes  for  each 
square  foot  of  positive  plate 
surface  employed.  If,  there- 
fore, we  have  a  cell  con- 
taining two  lead  plates,  each 
plate  having  a  surface  of  1 
square  foot,  we  shall  get 
from  it,  when  fully  charged, 
a  current  equal  to  six  am- 
peres per  hour  for  one  hour 
only  ;  but  if  we  could  dis- 
charge the  battery  at  this 
rate,  we  should  ruin  the 
plates  by  this  rapid  ex- 
haustion ;  hence  the  best  way 
to  take  it  will  be  at  the  rate 
of  one  ampere  for  six  hours. 
If  we  want  to  make  an 
accumulator  cell  to  give  a 
current  of  six  amperes  per 
hour  for  a  period  of  six 
hours,  we  must  either  em- 
ploy twi  plates  having  a 
surface  area  of  6  square 
feet  eich  plate,  or  twelve 
plates  having  a  surface 
area  of  1  square  foot.  It 
must  be  understood  that 
we  can  only  reckon  on 
the  current  from  one  plate 
out  of  each  pair,  because 
one  will  be  positive  and  the  other  negative,  and 
we  can  only  take  the  positive  surface  into  our 
calculations.  We  can  alwa}-s  arrange  the  capacity 
of  a  cell  by  an  arrangement  of  the  plates,  bearing 
in  mind  that  all  the  plates  in  one  cell  can  only  be 
effectively  used  as  a  pair,  and  must  be  coupled 
up  to  form  one  set  of  negative  plates  and  one 
set  of  positive  plates  ;  therefore,  all  the  positive 
plates  in  one  cell  must  be  connected  together, 
vol.  in.  (n.s.) — x  x 


554 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


and  all  the  negative  plates  also  connected 
together,  to  form  one  plate  of:  each  kind.  Each 
pair  of  plates,  or  each  combination  of  plates  in 
a  cell,  will  give  a  current  pressure  of  two  volts, 
however  few  or  many  may  be  the  pairs  in  that 
cell.  If  we  wish  to  increase  the  voltage  of  the 
current,  we  must  increase  the  number  of  cells. 

Having  chosen  the  size  of  plate,  we  must  cut 
out  the  sheet-lead  into  plates,  shaped  as  shown 
at  Fig.  8,  with  a  strip  or  lug  of  lead  at  one 
corner  for  making  connections.  The  plates  may 
be  cut  out  square,  and  the  lugs  soldered  on  if 
preferred.  Lay  each  plate  on  a  bench  or  on  a 
table,  and  scribe  the  surface  with  lines  \  inch 
apart,  as  shown  at  Fig.  9  ;  next  go  over  all  the 
surface  with  a  bradawl,  and  prick  a_hole  through 
the  lead  in  each  square,  as  shown  at  Fig.  10, 
until  all  the  ruled  space  has  been  perforated. 
When  each  plate  has  been  treated  in  this  way, 
make  up  a  paste  with  fine  red  lead  and  oil  of 
vitriol ;  spread  this  over  all  the  perforated  lead 
surface,  and  press  it  into  the  perforations  with  a 
wooden  spatula,  or  with  a  lead  spoon,  until  both 
sides  of  the  plate  have  been  coated  with  a 
smooth  layer  of  red-lead  paste.  When  the  plates 
have  all  been  treated  in  this  way,  and  the  paste 
has  set  hard,  they  are  ready  for  the  "forming" 
process.  It  may  be  well  to  state  here  that  large 
plates,  over  1  square  foot,  should  be  cut  out,  as 
shown  at  Fig.  11,  the  side  layer  being  made  to 
fit  in  a  wooden  frame  to  support  the  lead  plates. 

Forming  the  Plates. — The  process  of  "forming  " 
the  plates  is  done  by  an  electric  current.  The 
coat  of  red  lead  is  an  oxide  of  lead,  and  we  must 
convert  it  into  a  higher  oxide  by  means  of 
electrolytic  action  on  the  plates ;  when  thus 
converted,  it  is  capable  of  receiving  a  super- 
abundant quantity  of  oxygen,  which  it  is  ready 
to  give  up  when  opposed  to  a  plate  holding  a 
less  supply  of  oxygen,  and  connected  to  a 
metallic  circuit,  as  in  an  ordinary  battery.  The 
accumulator  plates  are  to  be  "  formed  "  in  the 
cell  in  which  they  are  to  be  worked  ;  they  are, 
therefore,  arranged  in  working  order,  i  inch 
apart,  as  shown  at  Fig.  12,  with  the  lugs  of  each 
alternate  plate  connected  together  by  a  brass 
clamp  to  form  a  connecting  terminal  to  each  set 
of  plates,  or  all  the  lugs  of  one  set  may  be 
soldered  to  one  strip  of  lead  running  the  length 


of  the  cell.  When  the  plates  are  thus  placed  in 
their  cell,  with  a  strip  of  wood  between  each 
plate  at  the  top  to  keep  the  plates  apart,  charge 
it  with  a  solution  of  sulphuric  acid  in  water,  in 
the  proportion  of  one  part  of  acid  to  ten  parts 
of  water,  and  let  the  solution  come  up  nearly  to 
the  top  of  the  plates.  This  done,  connect  one  ter- 
minal screw  to  one  pole  of  the  dynamo,  and  the 
other  terminal  to  the  other  pole  of  the  dynamo, 
and  send  a  current  of  electricity  through  the  acid 
solution  from  one  set  of  plates  to  the  other. 
The  current  should  have  an  electro-motive  force 
of  from  three  to  four  volts,  if  charging  one  cell 
alone ;  if  there  are  several  cells  to  be  charged, 
the  set  of  plates  should  be  connected  in  series, 
and  the  whole  battery  charged  in  this  way  if  the 
necessary  pressure  can  be  obtained ;  this  will 
have  to  be  quite  two  and  a-half  volts  for  each 
cell  connected  in  series.  If  the  generator  doe3 
not  yield  a  current  of  sufficiently  high  pressure  to 
charge  the  whole  battery  in  series,  some  of  the- 
cells  may  be  disconnected  and  charged  in  sets  ; 
then  connected  again  in  series  when  wanted. 
The  E.M.F.  of  the  current  must,  in  all  cases, 
exceed  two  volts  for  each  cell  in  series,  because 
this  is  the  E.M.F.  of  each  cell  when  charged, 
and  it  would  discharge  itself  through  the 
dynamo,  reversing  its  magnetism,  if  the  E.M.F. 
of  the  dynamo  current  did  not  exceed  that  of 
the  battery.  Dynamos  furnished  with  H  girder, 
Siemen's  armatures,  and  two-part  commutators, 
are  liable  to  reversal  whilst  employed  in  charging 
accumulators,  even  when  the  E.M.F.  of  the  charg- 
ing current  is  high  enough.  The  forming  current 
maybe  obtained  from  a  primary  battery,  made  up 
of  two  or  more  chromic  acid  or  Bunsen  cells  ;  but 
in  this  case,  the  cost  would  be  greater  than  when 
done  by  the  dynamo.  Send  the  current  through 
the  accumulator  for  about  three  hours ;  then 
connect  it  with  some  useful  work,  and  let  it 
discharge  itself  slowly  for  two  hours  ;  next  send 
the  current  through  it  in  the  opposite  direction 
for 'a  similar  time,  and  again  discharge;  con- 
tinue these  reversals  for  several  days,  until  it 
yields  a  fairly  large  current  for  a  good  period 
of  time,  and  appears  to  be  nearly  equal  to  what 
we  should  expect  from  it ;  then  recharge  it  until 
bubbles  of  hydrogen  are  given  off  freely  from 
the  negative  plates,  and  mark  this  set  of  plates 


HOW  TO  MAKE  A   PAIR    OF  HOUSE-STEPS. 


555 


with  the  negative  sign  -  ;  at  the  same  time 
mark  the  opposite  set  with  this  sign  -|-  to 
denote  the  positive.  In  all  future  charging 
operations,  let  the  accumulators  be  coupled  up 
to  the  dynamo  in  the  same  way,  so  as  to  receive 
the  current  in  the  same  direction. 

Just  a  word  of  caution  here.  If  accumulators 
are  charged  too  fast,  so  as  to  make  the  solution 
appear  to  boil  briskly,  the  coating  of  the  plates 
is  liable  to  disruption,  and  a  similar  disaster 
happens  if  the  cells  are  discharged  too  rapidly  ; 
therefore,  they  should  never  be  short-circuited 
by  placing  a  thick  wire  across  their  terminals. 

I  have  much  pleasure  in  recommending  a 
good  little  book  on  the  subject  of  accumulators, 
by  Sir  David  Salomons,  published  by  Messrs. 
Whittaker  and  Co.  at  6s. 

Cells  for  Accumulators. — The  best  material  for 
accumulator  cells  is  glass.  Glass  cells  for  this 
purpose  are  made  in  the  following  sizes  : — 


5  by  3i  by  2 

13  by 

11  by  5^ 

6  „  41  „  2 

13  „ 

11  .,  8J 

6  „  5  ,,  3 

13  „ 

11  „12 

H„    5  „  3 

14  „ 

6  „  12 

8  „  6  „  4 

18|„ 

8^,131 

10i„  8  „  7\ 

18l„ 

19  ,,10 

These  are  sold  by  Messrs.  J.  E.  Hartley  and  Co., 
13,  St.  Paul's  Square,  Birmingham,  at  from  12s. 
to  15s.  per  dozen  for  the  smaller,  up  to  £11  12s. 
and  £10  4s.  per  dozen  for  the  larger  sizes. 

Cells  may  also  be  made  of  good  teak,  with 
close  joints  well  dowelled  or  dovetailed.  Each 
part,  as  it  is  planed  up  and  cut  to  the  required 
size,  should  be  steeped  in  hot  paraffin  wax  until 
bubbles  cease  to  form  on  the  surface  of  the 
wood ;  this  will  make  the  wood  acid-proof.  The 
corner  and  bottom  joints  will  be  strengthened 
by  the  insertion  of  long  thin  brass  screws,  run 
in  with  white-lead ;  white-lead  should  also  be 
pasted  in  the  joints  before  they  are  screwed 
close.  The  sizes  may  be  inferred  from  the 
measurements  given  of  the  glass  cells  in  use  for 
this  purpose.  The  wood  should  not  have  a  less 
thickness  than  \  inch  when  planed  up,  and  may 
be  made  of  1  inch  stuff  with  advantage,  since 
the  contents  will  be  very  heavy,  and  there  will 
be  a  danger  of  joints  being  strained  if  sufficient 
rigidity  is  not  secured. 


HOW  TO  MAKE  A  PAIR  OF 
HOUSE-STEPS. 

BEING  THE  TENTH  OF  A  SERIES 
DEALING  WITH  ARTICLES  OF 
HOUSEHOLD    UTILITY. 

By  ED.  C.  ROE,  Junr.,  Honours  and  Silver  Medallist, 
City  and  Guilds  of  London  Institute. 


HERE  is  no  more  useful  article  in  the 
house  than  a  "  pair  "  of  steps,  as  they 
11  are  often  called  ;  for  it  is  a  pitiful 
thing  to  see  the  would-be  duster  of  the  top  of 
a  picture  struggling  on  a  chair- — which  is 
generally  a  great  sufferer  by  the  gymnastic  per- 
formance— in  the  vain  endeavour  to  reach  that 
eminence.  Shall  such  a  state  of  affairs  be  per- 
mitted to  continue  when  a  fairly  short  and 
interesting  job  will  remedy  the  tnatter '? 
Certainly  not  if  the  amateur  will  follow  me 
carefully,  while    I   endeavour  to   point   out   a 

way  to  provide 
another  article  of 
utility  for  the 
household. 

A  short  time 
back,  I,  among 
others,  was  called 
to  book  for  not 
giving  a  tabu- 
lated list  of  the 
material  required 
for  use  to  com- 
plete each  job ; 
so  I  will  try 
and  satisfy  my 
critic,  or  critics, 
by  giving  the  requisite  information.  But  first 
let  us  deal  with  a  few  points  ;  minor,  it  is  true, 
but  necessary. 

The  first  point  is  the  height  the  steps  are 
to  be ;  this  is  a  matter  which  individual 
requirements  must  settle.  I  once  made  a  pair 
1 3  feet  high ;  they  were  really  a  double  set  of 
steps,  and  for  extraordinary  purposes ;  but 
for  average  household  use,  about  6  feet  is  a 
good  useful  height.  The  next  point  is  weight. 
We  must  bear  in  mind  that  the  steps  will 
often  be  used  by  the  fair  sex,   and  therefore 


556 


HOW  TO   MAKE  A   PAIR    OF  HOUSE-STEPS. 


it  is  desirable  that  they  should  be  as  light  as 
is  consistent  with  strength.  With  these  con- 
siderations in  view,  the  dimensions  I  shall 
give  are  less  tban  for  steps  used  by  trades- 
men, as  house-steps  do  not  usually  encounter 
such  rough  treatment. 

The  widths  and  thicknesses  in  the  following 
table  are  finished  sizes  ;  that  is  to  say,  they  are 
the  dimensions  of  the  material  after  it  is  planed 
up.  The  lengths  are  necessarily  somewhat 
approximate,  but  will  be  found  in  every  case 
sufficiently  long,  if  in  one  or  two  instances  they 
cut  a  little  to  waste. 


is  to  say,  it  should  have  perfectly  square  arises 
or  edges,  which  it  would  not  have  if  cut  from 
the  outer  portion  of  the  tree,  or  from  very  small 
timber.  A  few  small  knots  will  do  no  harm ; 
should  they  be  loose,  they  can  easily  be  tapped 
out  and  glued  in  again  ;  in  fact,  in  yellow  stuff 
knots  cannot  be  avoided.  The  advantage  of 
utilising  flooring  is  great ;  its  use  saves  a  lot  of 
hard  work  jacking  off  the  rough  outsides,  and 
it  is  now  so  very  cheaply  prepared  by  machine^' . 
The  treads  will  cut  the  stuff  to  waste  in  the 
width,  but  the  piece  remaining  is  of  useful  size. 
Let  all  the  pieces  for  the  front  portion  of  the 


To. 

Len 

crtli. 

Width. 

Thick. 

Name. 

ft. 

in. 

in. 

in. 

2 

6 

0 

31 

7 
8 

sides  or  strings. 

1 

1 

8\ 

/  bottom  tread. 

1 

1 

2  i 

\  top 

1 

1 

5  \ 

4 

7 

<  middle       ,, 

2 

1 

3  \ 

/  treads. 

1 

1 

7  , 

\  treads. 

1 

1 

4 

c  1 

I     top. 

1 

1 

3 

7 

back. 

o 

5 

6 

2f 

7 
8 

"j      stiles. 

1 

1 

2 

7 

top  rail. 

1 

1 

7 

3  ' 

^     bottom  rail. 

All  the  foregoing  pieces  can  be  cut  out  of 
inch  flooring,  7  inches  wide.  The  best  quality 
yellow  flooring  should  be  selected,  free  from 
knote,  and  clean  on  the  back,  not  "  waney  ";  that 


stops  proper  be  cut  out  first,  and  then  proceed 
to  set  out  the  strings  or  sides.  Fig.  1  will  give 
the  correct  angle  or  bevel  to  which  the  treads 
will  be  fixed ;  so  that  if  we  set  a  bevel  to  the 
lines  given,  we  can  use  it  virtually  in  place  of 
an  ordinary  square.  The  top  of  the  strings  will 
be  housed  into  the  top  J  of  an  inch,  and  then 
taking  7^  inches  down  we  come  to  the  top  of  the 
topmost  tread  ;  so  take  your  setting-out  knife 
or  penknife,  and  cut  in  the  first  line,  then  with  a 
pair  of  compasses,  set  to  the  thickness  of  the 
treads,  prick  off  the  second  line  of  the  housing, 
and  cut  all  the  treads  on  each  string  in  the 
same  manner  ;  during  the  setting  out  of  which 
take  notice  that  they  are  kept  in  pairs,  and  set 
out  on  opposite  faces. 

A  half-size  section  of  the  strings  is  given  at 


DESIGN  FOR  A   BRACKET  IN  FRETWORK. 


557 


Fig.  1,  where  is  also  shown  the  finished  tread, 
and  the  mortise  which  receives  the  tenon,  as 
shown  by  Fig.  2,  on  the  top,  middle,  and  bottom 
treads.  The  depth  of  the  housings  will  be  the 
same  as  the  width  of  the  bead,  whatever  that 
may  prove  to  be  ;  so  to  the  bead  itself  a  gauge 
must  be  set,  but  the  housings  should  be  cut  in 
first,  the  bead  struck,  and  then  the  superfluous 
material  removed  with  a  router.  After  cutting 
the  three  mortises  in  each  side,  fit  the  top  and 
bottom  treads ;  you  will  then  be  able  to  obtain 
accurately  the  length  of  the  middle  one  ;  and 
when  that  is  fitted,  the  whole  can  be  glued  up, 
wedging  the  tenons  crossways,  as  indicated  on 
Fig.  1.  The  remaining  five  treads  may  now  be 
cut  and  inserted.  Do  not  attempt  to  plane 
either  the  back  or  front  edges  until  the  whole 
are  fitted  and  permanently  nailed,  and  the  nail 
heads  punched  in,  and  the  sides  of  the  strings 
smoothed  off. 

Before  proceeding  further,  the  back  edges  of 
the  treads  which  project  at  the  back  must  be 
planed  flush  with  the  back  edges  of  the  strings 
(see  Fig.  1),  and  the  front  edges  rounded  off. 
The  ends  will  be  cut  back  into  the  quirk  of  the 
bead,  as  shown  (Fig.  4),  and  then  they  are 
completed. 

The  top  may  now  be  housed  on  to  the  ends  of 
the  strings,  and  nailed  on.  All  its  edges  will 
be  rounded,  and  will  project  over  the  back  \\ 
inches,  and  equally  over  each  end.  Under  this 
the  back  piece  will  be  fitted,  the  ends  having 
first  been  shaped,  as  shown  in  Figs.  6  and  7, 
and  a  bead  struck  on  each  of  the  lower  edges. 

The  two  strengthening  or  binding  rods  are 
simply  lengths  of  J-inch  iron  rod,  cut  \  inch 
longer  than  the  extreme  width  between  the 
outer  faces  of  the  strings,  plus  the  thickness  of 
one  washer  each  side.  Fig.  3  will  probably 
best  convey  my  meaning  as  to  how  the  ends  of 
the  rods  are  bound  over.  The  rods  are  fixed 
underneath  the  second  and  sixth  treads. 

The  front  portion  is  now  completed,  so  that 
the  back  or  prop  piece  may  be  taken  in  hand. 
It  is  simply  a  mortised  and  tenoned  frame, 
made  to  the  shape  of  the  front.  It  is 
preferable  to  fix  the  top  rail  with  a  double 
tenon  (the  drawing  will  show  what  is  meant). 
The  bevel  or    angle  of   the  shoulders  will  be 


easily  ascertained  by  laying  into  the  back  of  the 
steps ;  the  same  may  be  said  of  the  lower  rail, 
the  tenon  of  which  may  be  allowed  to  remain 
the  full  width. 

After  fitting  carefully,  glue  up  and  properly 
wedge.  Do  not  use  wedges  too  pointed ;  the 
best  form  is  shown  by  Fig.  9.  The  thickness 
of  the  tenons  will  be  A  inch. 

The  union  between  the  back  and  front  is 
accomplished  by  the  use  of  a  pair  of  back-flap 
hinges,  If  inches  wide  ;  screw  on  with  as  stout 
a  screw  as  possible.  See  that  the  heads  fit  the 
countersinkings  properly  ;  nothing  looks  worse 
than  projecting  screw-heads. 

All  we  have  to  do  now  is  to  bore  four  f  centre- 
bit  holes  in  the  positions  indicated.  The  holes 
in  the  back  must  be  bored  so  as  to  avoid  the 
back  edge  of  strings  when  the  steps  are  closed, 
for  obvious  reasons.  Two  pieces  of  No.  5  sash- 
liae,  neatly  knotted  at  each  end,  will  complete 
the  job  ;  see  that  the  cords  are  of  equal  length. 

And  now  the  steps  are  ready  for  use,  that  is, 
if  it  is  not  intended  to  paint  or  varnish  thorn. 
They  would  look  well  varnished  ;  such  treatment 
is  eminently  suitable  for  house-steps.  If  you 
anticipate  borrowers,  have  your  name  or  initials 
written  thereon,  as  that  forms  a  good  hint  as  to 
where  they  came  from.  In  conclusion,  let  me 
hope  that  this  tenth  paper  of  the  series  dealing 
with  articles  of  utility  will  prove  useful  to  the 
readers  of  Amateur  Woek. 


DESIGN  FOR  A  BRACKET  IN 
FRETWORK. 

WITH  SUGGESTIONS  FOR  ALTERNATIVE 
TREATMENT. 

By  J.   WniTFIEhD  HARLAND. 


VERY  amateur  who  has  assayed  fret- 
work knows  that  there  is  the  very 
serious  drawback  of  frailty  in  that 
kind  of  work,  and  whilst  a  very  good  remedy 
has  been  proposed  by  the  use  of  "three-ply" 
wood,  as  it  is  called,  to  avoid  this  weakness,  yet 
it  is  not  the  rule,  but  the  rare  exception,  to 
use  it. 

Whilst  a  surprisingly  large  amount  of  leisure 
time  is  spent  upon  thi3  pursuit,  which  is  almcat 


558 


DESIGN  FOR  A   BRACKET  IN  FRETWORK. 


a  fashionable  craze,  it  strikes  me  as  almost  un- 
accountable, that  at  so  slight  an  extra  cost  its 
durability  should  still  continue  to  be  impaired. 
Perhaps  also  equally  astonishing,  is  to  find 
amateurs  purchasing  designs  to  work  from,  and 
carrying  them  out  exactly  like  five  hundred  other 
people  do.  At  best,  there  is  a  sameness  and 
want  of  variet}7  in  all  fretwork,  as  well  as  an  air 
of  objectionable  flatness ;  and  when,  added  to 


and  modifying  designs  in  a  method  of  carrying 
them  out,  I  give  the  following  hints  and  sugges- 
tions, which  show  that  fretwork  is  capable  of 
higher  ornamental  purpose  than  is  generally 
admitted  ;  that  its  incompleteness  may  be  over- 
come, and  greater  richness  of  effect  may  be 
obtained,  by  simple  and  easy  treatment.  As  an 
illustration  of  modification  of  design,  take  the 
half-back  of  the  bracket  for  lamp  in  Florentine 


FIC.I. 
llali 'of  buck  of 
Br-oxket  in  Fretwork. 


this,  one  sees  in  every  house  the  same 
design  carried  out  without  the  least  varia- 
tion or  deviation,  it  becomes  monotonous, 
to  say  the  least  of  it.  It  is  true  that  it  is  not 
everyone  who  can  design  for  himself,  but  one 
would  suppose  that  everyone  has  sufficient  in- 
genuity to  depart  from  a  design,  safely,  in  some 
way  that  would  impart  freshness  and  indi- 
viduality to  it,  even  if  the  motif  were  still 
partly  preserved. 

In  order  to  give  opportunity  for  thus  varying 


s^&r 


FIC.5. 

Chamfering 
tool. 


FIG.E. 

Midfadlier  of  Bracket 


I  Eenaissance  style,  and  compare  it  (Fig.  1 )  with 
the  midfeather  (Fig.  2),  where  a  very  slight 
divergence  alters  the  whole  thing.  Here  it  is 
introduced  for  the  twofold  purpose  of  variety 
and  of  usefulness,  as  the  idea  is  to  provide  a 
receptacle  for  matches  under  the  bracket  itself, 
so  that,  even  in  the  dark,  one  can  put  one's 
hand  upon  them  in  a  moment;  at  the  same  time, 
to  c  arry  out  the  design  in  such  wise  that  the 
midfeather  shall  correspond  with  the  bracket 
back,  yet  ought  to  be,  as  it  shall  be,  smaller, 


DESIGN  FOR  A   BRACKET  IN  FRETWORK. 


559 


and  spring  from  it  at  a  point  above  its  lower 
extremity  (see  perspective  view  of  lower  portion, 
which  is  given  to  show  the  effect,  and  to  make 
clear  how  the  match  receptacle  is  fitted  into  its 


on  the  sketching  paper,  upon  which  I  should 
then  fill  in  an  idea  or  two  for  modifications 
until  I  produced  something  I  thought  would 
suit,  when  I  should  again  lay  the  tracing  over 


place  and  position).     Thus  I  wish  to  emphasise     it,  and  trace  the  modification  along   with  the 


that,    even    if    one    does 
buy  a  design,  it  does  not 
follow  that   it   cannot   be 
modified  or  departed  from, 
even  with  improvement  in 
its  appearance;  but,  on  the 
other  hand,  it  is  better  to  deviate 
from  it,  so  as  to  avoid  having  the 
exact  counterpart  of  what  "  Dick, 
Tom,  and  Harry  "  have  also  done. 
Nor  ought  there  to  be  any  great 
difficulty,    even   to   a   non-designer,  in 
doing  this.     I  should  proceed  thus  :  I 
should  make  a  tracing,  in  soft  black-lead 
pencil,    of  such  main   portions   of  the 
design   as   I   intended    to    retain,    and 
laying   it    face    down   on    a    piece    of 
sketching  paper,  I  should  rub  with  the  thumb- 
nail all  over  it  until  a  faint  outline  had  set  off 


FIG.  6. 


"basic" 
buying 
Nature, 
tuft    of    silvery 
two,  or  a  spray 


other,  previously  traced. 
There  is  another  advan- 
tage in  attempting  to 
modify  others'  designs. 
Even  if  one  does  not 
adopt  the  modification,  it 
teaches  one  imperceptibly 
to  design,  and  by  degrees 
one  relies  solely  for  the 
motif  that  runs  through 
the  bought  design,  carry- 
ing out  with  a  different 
aim,  and  in  a  different  tone, 
what  may  be  termed  the 
idea.  Ultimately,  instead  of 
a  design,  one  goes  direct  to 
and  with  a  spray  of  ivy,  a 
grass,  or  a  field  flower  or 
of  fern  and  foliage,  the  idea 


560 


DESIGN  FOR  A   BRACKET  IN  FRETWORK. 


comes,  and  one  finds  one  can  design  ab  initio. 
Of  course,  there  can  be  no  designing  power 
without  thought,  without  reasoning  out  the 
secret  of  the  elegance  and  beauty  of  the  ideal 
base,  without  reflecting  as  to  why  certain  forms 
and  curves  give  grace  and  are  beautiful,  whilst 
others  seem  incongruous,  why  beauty  of  curve  at 
timea  seems  wanting  'Lin  strength,  and  strength 
instead  of  seeming  beautiful  and  elegant  seems 
c'umsy  and  heavy.  But  in  modifying  others 
designs,  the  perception  of  these  incongruities' 
and  the  reason  of  them,  will  come  to  the  mind 
more  quickly  if  there  be  method  and  system  in 
their  conduct,  if  the  imagination  be  governed 
by  reason,  if  the  purpose  of  the  design  be 
logically  kept  in  view — that  purpose  should  be 
found  unmistakable  as  the  basis  and  motif  of 
the  design  clearly  set  forth. 

Thus,  in  the  illustration,  the  idea  sought  to 
be  conveyed  is  that,  primarily,  of  support.  It 
is  not  a  hanging  bracket,  or  there  would  be  no 
excuse  for  the  lines  curving  through  what  are 
really  the  supports  of  the  shelf,  helping  one 
another  as  they  interlace  each  other,  and  gaining 
strength  thereby ;  and  as  they  actually  do  this, 
they  impress,  unconsciously  perhaps,  the  idea  on 
the  mind  of  security  and  sufficiency  of  purpose 
so  necessary.  Hence,  ornament  should  ever  be 
subservient  to  strength,  and  be  capable  of  ex- 
pressing enough  of  the  idea  of  strength  to  convince 
the  mind  of  its  actual  presence.  Unless  impres- 
sions, at  a  glance,  that  satisfy  the  mind  and 
taste  are  produced,  there  is  something  wrong 
with  the  design  itself. 

We  all  know  that  wood  is  brittle  one  way  of 
the  grain,  and  that  unless  "  three-ply  "  wood  is 
used  where  the  middle  piece  crosses  the  grain  of 
the  other  outside  pieces,  such  a  design  as  the  one 
here  given  would  bo  very  fragile.  I  may  there- 
fore suggest  to  amateurs  the  alternative  of  pre- 
paring themselves  their  wood  for  fretwork, 
and  instead  of  three-ply  wood,  which  warps, 
because  the  outsides  are  of  unequal  thickness 
to  the  middles.  I  prefer  the  use  of  several 
thicknesses  of  veneers  laid  alternately  across 
and  with  the  grain.  To  prepare  these,  first  plane 
a  piece  of  seasoned  1  inch  pine,  and,  with  thin 
glue,  cover  it  with  brown  paper,  and  then  lay 
on  this  the  first  veneer.  This  should  now  be  laid 


aside  for  twenty  hours,  that  the  glue  might  be 
thoroughly  hard  and  set.  With  a  toothing-plane 
level  the  upper  side  of  the  veneer  thus  glued, 
and  lay  upon  it,  with  thin  hot  glue,  the  next 
veneer,  and  let  this  also  set  for  twenty  hours,, 
proceeding  in  like  manner  with  each  subsequent 
layer  of  veneer.  It  must  be  borne  in  mind 
that  whilst  drying,  a  good  pressure,  sufficient  to 
squeeze  out  all  the  glue,  should,  at  each  opera- 
tion, be  employed.  To  this  end,  a  sheet  of 
paper  should  be  laid  over  the  veneer  (to  pre- 
vent it  adhering  to  the  board),  and  then  a 
thick  planed  board  laid  over  that,  covered  with 
heavy  weights  piled  upon  it.  If  an  ordinary 
copying-press  is  at  hand,  the  screw  will  give 
pressure  enough  if  hard  screwed  down.  Of 
course,  a  small  hydraulic  press,  such  as  is  used 
by  printers  and  bookbinders,  is  better.  If  such 
pressure  is  obtainable,  several  veneers  could  be 
glued  one  over  the  other,  and  subjected  to  it  at 
one  operation,  thus  making  up  the  thickness 
required;  without  such  pressure,  the  slower 
method  will  always  prove  the  surer  one. 

I  here  suggest  a  new  combination.  Let  the 
middle  layers  of  veneer  be  of  dark  or  stained 
wood,  and  the  outer  layers  of,  say,  white  holly, 
or  vice  versa.  When  fret-sawn,  the  soffits  would 
then  show  a  distinct  line  of  dark  wood  in  con- 
trast to  the  lighter  one  employed. 

Further,  in  the  design  given  at  Kg.  3  is 
a  drawing  of  part  of  the  system  of  curves,  made 
by  cutting  roughly  out  of  white  holly  veneer 
the  white  parts,  and  out  of,  say,  dark  walnut 
the  other  parts  shown  shaded  over  in  the  illus- 
tration. The  outside  plies  of  the  composite 
panel  or  board,  part  of  the  design,  as  shown, 
would  be  white,  and  the  rest  of  it  would  be  dark, 
giving  a  new  prominence  to  some  curves,  and 
keeping  the  others  subservient,  a  sort  of  inlaying 
(or,  more  properly  speaking,  overlaying)  adapted 
to  fretwork,  which  must  add  artistic  merit  to- 
the  work. 

Before  deciding  which  portion  of  the  design- 
say,  for  instance,  a  bought  one — should  be  light 
and  which  dark,  I  would  suggest  the  use,  on  the 
design  itself,  of  a  piece  of  charcoal  nicely 
pointed  ;  with  this  one  can  rub  in  the  part  one 
suggests  for  dark  wood,  and  if  it  should  turn 
out  to  be  unsatisfactory,  it  can  be  dusted  off  and 


TUBULAR  PNEUMATIC  ACTIO X  ADAPTED   TO   SMALL    ORGANS. 


561 


cleaned  -with  bread-crumb  without  leaving  a 
trace,  and  the  same  expedient  resorted  to  again 
until  one  is  satisfied  with  the  result.  It  is  not 
by  any  means  requisite  that  the  joints  of  light 
and  dark  veneer  be  close,  except  where  they  are 
intended,  after  fret-cutting,  to  be  in  visible  juxta- 
position ;  for  where  the  piercings  are,  the  piece 
that  comes  out  will  not  be  seen,  and  only  what 
is  left  in  will  matter  at  all ;  an  approximate  only 
will  be,  therefore,  necessary. 

Fretwork  has  one  great  drawback  from  an 
artistic  point  of  view ;  it  has  the  attribute  of 
flatness.  There  are  three  ways  of  modifying 
this  flatness,  which  is,  after  all,  due  to  its  sur- 
face being  left  flat.  The  first  way  of  obviating 
this  inherent  disadvantage  is  by  chamfering  the 
edges,  either  all  round  or  stop-chamfered  where 
judicious.  The  second  expedient  suggested  is 
that  of  chip-carving  the  flat  face.  The  third 
alternative  is  carving  pure  and  simple  (Fig.  4). 
The  two  latter  modes  of  treatment  would  be 
more  safely  executed  if  done  before  the  fret- 
cutting  ;  the  former  one,  as  I  hope  to  show, 
can  more  easily  and  safely  be  done  after  sawing. 

Taking  these  variations  of  the  subject  in  order, 
let  me  point  out  the  ease  with  which  chamfering 
can  be  done  with  the  tool  I  have  designed  for  this 
purpose,  shown  in  Fig.  5.  It  will  be  seen  that  it 
consists  of  a  straight  spindle,  on  which  a  trun- 
cated rose-bit  can  be  adjusted  with  a  set-screw 
at  any  elevation  required.  If  the  spindle  be 
set  till  it  almost  touches  the  table,  it  is  evident 
that  this  spindle  would  act  like  a  fence,  or 
gauge,  against  which  the  curves  of  the  fretwork 
could  be  pressed  home,  and  the  rose-bit,  being 
set  to  the  required  height,  would,  in  revolving, 
cut  a  chamfer  on  the  upper  edge  at  one  equal 
angle,  to  one  equable  depth,  and  one  and  the 
same  equable  reveal  on  the  face.  The  rose-bit 
shown  in  the  drawing  is  at  an  angle  of  45",  but 
55°  or  60°  could  be  just  as  easily  made,  or 
several  bits  of  different  angles  could  readily  be 
fitted  on  the  same  revolving  spindle. 

If  we  suppose  the  chamfering  to  be  carried 
right  through  until  the  gradually  narrowing  of 
one  curve  into  another  will  not  allow  of  the 
rose-bit  going  up  any  nearer  into  the  corner, 
the  chamfer  must  after  wards  be  finished  out  with 
a  V-tool,  or  a  sharp  chisel,  into  the  angle  itself. 


If  the  outer  veneers  are  of  different  wood  to  the 
interior  layers,  and  the  chamfer  is  made  of  the 
exact  depth  of  the  outer  layers,  a  very  pleasing 
effect  can  be  got ;  the  chamfer  thus  stopping  at 
the  commencement  of  the  light  or  dark  wood 
middle,  as  the  case  may  be  ;  and  where  certain 
parts  of  the  design  are  overlaid  in  dark  and 
others  in  light  wood,  the  chamfering  only  en- 
hances the  artistic  value  of  the  work. 

In  the  second  alternative  method,  if  united 
with  the  use  of  different  coloured  woods,  and  the 
chip-carving  be  deep  enough  to  cut  into  a 
different  coloured  wood,  a  sort  of  cameo  effect 
would  be  produced.  This  opens  up  further 
developments.  Alternate  light  and  dark  layers 
of  veneer  could  be  used,  and  part  of  the  chip- 
carving  could  be  carried  down  through  two 
thicknesses,  whilst  still  deeper  incisions  went 
through  three,  thereby  again  changingj  the 
colour. 

In  certain  parts  turned  buttons  or  rose3  could 
be  planted  on  to  the  flat  fretwork  surface  of  the 
same,  or  of  different  colours. 


TUBULAR  PNEUMATIC  ACTION 
ADAPTED  TO  SMALL  ORGANS. 

By  TIIE  AUTIIOR  OF  "  FACTS  ABOUT  ORGANS." 


N  undertaking  a  paper  upon  pneu- 
matics. I  feel  it  necessary— pneumatics 
being,  indeed,  the  "question  of  the 
hour  " — to  premise  by  stating  that  I  have,  as  far 
as  possible,  confined  myself  to  general  and  com- 
monly accepted  principles,  and  have  endeavoured 
to  avoid  copying  systems  which  are  the  property 
of  inventors.  Should  I,  in  the  course  of  the 
paper,  have  unwittingly  wandered  from  this  my 
purpose,  I  trust  the  defection  may  be  condoned. 
In  the  following  cases,  pneumatic  action  is  to 
be  recommended  even  in  very  small  instruments  : 
(1.)  To  add,  say,  a  16  feet  double,  or  even  a 
high  pressure  8  feet  to  16  feet  reed,  to  a  chest, 
the  pallets  of  which  have  already  as  much  as 
they  can  do  to  supply  the  existing  stops. 
(2.)  To  borrow  8  feet  from  great  organ  as  a 
pedal  unison,  and  upper  notes  (all  but  lower  12) 
for  pedal  bourdon,  leaving  12  only  to  be  sup- 
plied.    (.J.)    To  continue  a  manual   sub-octave 


562        TUBULAR  PNEUMATIC  ACTION  ADAPTED    TO   SMALL    ORGANS. 


Tracker  to  pedals 
-making  haurdon..Ten,  C. 


Q— <=3=0 


DESCRIPTION   OF  FIGURES. 


FIGS.   I,  2,  3. -EXPERIMENTAL    PURSE.      FIGS.    4.    5,    6.-PLANS    AND    SECTION    OF    SOUND-TOABD,     A      SOUND-BOARD^    B. 

groove-board;  c,  grooves;  d,  conveyance  from  the  key  pallets;  e,  "^ :  »'  p#^  ■  ° _*£™5; 

L,  SPIRAL  SPR.NG   CLOSING    PALLET  ;    M,  P^NS  ;   O,  PLATE   THROUGH    WHICH    THE   WIRE   PASSE   .      FIG.    7 ■       ^TAIL  ^ 
PALLET  -AAA.  BUTTONS  ;     B,    DISC    OF    FELT    WITH    SOFT   LEATHER    GLUED   AT   TOP  J     C,    WA="EROF    LEATHER    OR 
RUBbII      D,  DISC    UNDER    PURSE.      FIG.  8.-STOPPED    DIAPASON  OR  GREAT  ORGAN    CONVEYING  °*> g™'™™™ 
NOTES     THUS  SAVING  WIND    IN    GREAT    CHEST,  AND    CAUSING    NONE    OF    THE     OTHER    STOPS    TO    SPEAK.      FIG.    BA. 
ENLARGED  VIEW   OF  B,    FIG.    S.      FIG.    9.— METHOD   FOR  DRAW   STOP  OR   COUPLER. 


TUBULAR  PNEUMATIC  ACTION  ADAPTED    TO   SMALL    ORGANS.       563 


coupler  to  C  0  C,  by  taking  the  pedal  bourdons 
on  lower  octave  of  keys. 

In  all  these  cases  pneumatic  action  confers 
three  distinct  advantages  :  (1.)  Silent  action  (no 
slides  to  get  tight).  (2.)  Pipes  always  winded 
the  same  (not  as  in  grooving),  consequently  per- 
fection in  tuning.     (3.)  Lightness  of  touch. 

Taking  the  pneumatic  bellows  first:  where 
space  admits,  the  simple  form  (say  1\  by  8 
inches)  made  in  the  manner  described  by  Mr. 
"Wicks,  for  the  tremulant,  is  perhaps  the  best ; 
but  when  the  work  is  to  be  carried  out  by 
amateurs,  and  where  space  is  a  paramount  con- 
sideration, I  hive  found  th.9  form  shown  in 
diagram  preferable.  This  bellows  may  now 
be  described,  and  it  will  be  well  to  make  a 
single  note  experimentally  before  beginning  a 
set.  Cut  out  a  piece  of  wood  (Fig.  1),  the  wood 
may  be  \  inch  thick  ;  round  off  the  sharp  edges  of 
the  hole  on  the  top  side  ;  glue  this  on  another 
piece  the  same  size,  but  not  cut  out  (Fig.  2) ;  on 
the  top  of  all  glue  a  thin  skin.  In  the  side  of 
glued-up  block,  bore  a  f  inch  hole  (c),  com- 
municating; with  the  depression  covered  by  the 
leather.  In  the  centre  of  the  purse  thus  formed, 
stab  a  hole,  and  bore  it  right  through  the  wood 
(Fig.  3);  through  this  pass  a  wire  having  a 
button  on  the  end  protruding  through  the 
leather.  Before  finally  tyiQg,  stretch  the  leather 
of  the  purse  slightly,  so  that  on  applying,  say,  a 
penny-piece,  it  can  be  pressed  to  bear  level  down 
on  the  bottom  board,  b.  Now  insert  the  wire, 
hold  the  end  which  has  no  button,  blow  into  the 
f  inch  hole,  and  a  distinct  pull  will  be  felt  as 
the  purse  inflates  ;  or,  instead  of  holding  in  the 
fingers,  tie  a  bullet  or  other  weight  to  the  wire, 
and  it  will  rise  directly  the  purse  is  inflated. 

There  is  the  principle  ;  it  is  for  the  reader  to 
find  the  modifications  suitable  for  the  particular 
job  he  has  in  hand. 

In  place  of  leather,  paper  may  be  used,  pro- 
vided it  is  good  oil  linen  paper — books  printed 
circa  1800  will  generally  furnish  such,  or  regis- 
tered letter  envelope  paper,  which  has  a  kind  of 
canvas  lining ;  but  in  these  eases  a  disc  of 
leather  must  be  glued  on  where  the  wire  passes 
through,  to  prevent  tearing.  Great  care  must 
be  used  in  stretching  this  paper.  I  have  made 
some  bellows  thus,  which  work  perfectly,  but 


they  have  not  been  in  use  long  enough  for 
me  to  be  able  to  guarantee  their  durability ; 
they  do  not,  however,  show  any  sign  of 
deterioration. 

Figs.  4,  5,  G  show  the  section  and  details  of  a 
pneumatic  sound-board.  The  purses,  e,  are  in- 
flated from  key  action  (without  perceptibly 
increasing  the  demand  upon  the  key  pallets),  the 
wind  passing  through  the  tubes,  d,  which  may 
be  of  paper,  from  pallet  to  purse.  We  will 
suppose  that  the  pipes  are  of  8  feet  pitch ;  thus 
the  16  lower  notes  of  the  8  feet  on  manual  make 
no  demand  on  the  pallets  and  grooves  of  manual 
sound-board  ;  the  chest  (a,  Fig.  6)  being  always 
full  of  wind  direct  from  the  bellows.  By  the 
square,  n,  these  pipes  form  the  16  upper  notes 
of  pedal  bourdon,  without  bringing  on  the  other 
stops  of  the  great  organ. 

In  each  case  the  pipes  receive  neither  more 
nor  less  wind  than  the  pallet,  f,  supplies ;  con- 
sequently their  pitch  is  unaltered,  whether  they 
are  played  by  hand  or  feet,  or  by  both. 

It  now  remains  to  consider  the  details  of  the 
purses,  the  principle  being  now  fully  explained. 
The  pallet  (Fig.  7)  is  formed  by  a  circular  d;sc 
of  piano  hammer  felt  (softest  that  can  be  got), 
covered  by  a  disc  of  soft  leather  glued  on,  the 
size  of  disc  about  that  of  a  penny,  to  cover  a 
hole  the  size  of  a  shilling,  or  less.  To  keep  the 
disc  stiff,  a  washer  of  thin  sole  leather  or  stiff 
cardboard,  the  size  of  a  sixpence,  is  placed 
under.  All  these  pieces  are  threaded  on  a 
tapped  wire,  and  are  screwed  close  up  together 
by  buttons,  a  a. 

At  the  other  end  of  the  wire,  after  it  comes 
through  the  purse,  two  washers  of  wood  are 
placed,  one  the  size  of  a  halfpenny,  the  other 
the  diameter  of  a  threepenny-bit,  and  below 
this  a  leather  button,  a,  bringing  them  up 
against  the  leather  purse.  A  spiral  spring  (l, 
Fig.  6)  fits  over  the  small  washer,  bearing 
against  the  larger  one. 

The  spring  may  be  made  of  piano  steel  wire, 
and  must  be  only  just  strong  enough  to  do  its 
work.  Springs  can  be  made  by  getting  around 
piece  of  iron,  §  inch  diameter,  or  less,  filed  at 
one  end  to  fit  in  a  brace  (like  an  ordinary  bit) ; 
at  one  end  drill  a  small  hole,  through  this  pass 
the   end  of    the  wire,  and  wind  it  tightly  by 


564 


AN  EASILY  MADE  PRINTING  PRESS. 


turning  the  brace,  some  person  stretching  the 
wire  round  the  corner  of  bench,  or  other  con- 
venient object,  taking  a  half  turn  with  the  wire, 
in  order  to  keep  it  taut. 

The  tubes  used  can  be  made  of  paper — several 
thicknesses  of  newspaper,  pasted  on  a  greased 
iron  rod,  and,  when  dry,  covered  with  one  thick- 
ness of  brown  paper  glued  on  ;  the  brown  paper 
being  wet  with  warm  water  on  the  unglued  side, 
is  the  readiest  method  for  persons  unused  to  the 
makiDg  of  paper  pipes.  AVhen  dry,  cut  with  a 
dovetail  saw,  and  glue  the  mitres  with  thick  glue. 

Fig.  8  is  an  example  of  borrowing  by 
pneumatics,  and  gives'  a  diagram  of  pneumatic 
bellows  suitable  for  larger  work.  The  pipes 
borrowed  are  on  their  own  wind,  therefore  in 
tune.  The  principle  is  the  same  as  in  the 
previous  cases,  except  that  (from  the  size  of  the 
parts)  an  escape  valve  is  needed  to  ensure 
prompt  repetition.  In  the  bellows  at  b,  Fig.  8, 
there  is  a  hole  allowing  a  tapped  wire,  screwed 
at  its  point  into  the  fixed  part  of  the  bellows — 
which  in  this  case  is  the  channel  board — to  play 
very  freely.  Care  must  be  taken  not  to  make 
this  hole  too  large  at  first ;  it  can  be  made  larger 
afterwards  if  bellows  is  slow  to  collapse.  On  the 
end  of  the  wire  which  comes  through  the  moving 
leaf  of  the  bellows,  there  is  a  disc  (see  details  of 
b),  which  limits  the  amount  the  bellows  can 
open,  and,  when  bellows  is  open  as  far  as  it  is 
permitted,  stops  the  wind  from  escaping  round 
the  wire.  As  soon  as  the  supply  of  wind  is  cut 
off,  the  spring,  c,  closes  the  bellows,  the  wind 
escaping  freely  round  the  wire.  On  a  large 
scale  this  system  is  invaluable  for  couplers,  as  in 
general  force  is  only  needed  one  way  to  raise  the 
lever  stocks,  as  "  great  to  pedal." 

From  the  principles  given,  together  with  some 
obvious  applications,  I  doubt  not  that  the  reader 
will  be  able  to  make  pneumatic  actions  for  the 
large  pipes,  the  couplers,  and  even  the  stops. 
The  power  of  pneumatic  bellows  is  so  great  that 
a  spring  may  be  attached  to  a  draw-stop  to  draw 
it  in,  and  yet  the  bellows  will  take  it  out,  and 
hold  it  securely  till  the  wind  is  cut  off. 

Complete  details  to  make  a  pneumatic  action 
for  the  fifty-six  notes  would,  I  think,  be  out  of 
place,  as  the  reader  can  easily  find  them  in 
works  on  the  organ. 


AN    EASILY    MADE    PRINTING 
PRESS. 

By  "  CB  OP  STICK." 


:|Sa  subscriber  to  Amateur  "Work  from 
the  commencement,  I  have  been 
rather  surprised  at  the  few  papers 
that  have  appeared  on  amateur  printing  ;  I  do 
not  mean  in  the  art  itself,  but  in  the  appliances 
for  the  same.  I  have  written  this  short  descrip- 
tion of  a  very  good  and  cheap  press,  which, 
though  some  may  think  very  primitive,  yet  I 
have  earned  many  a  pound  on  an  exactly 
similar  press ;  and  turned  out  very  good  work, 
too.  Fig.  1  shows  the  side  of  the  press ;  a  is 
the  bed  on  which  the  type  rests  when  being 
printed  from ;  it  should  be  made  of  some  hard 
wood,  mahogany  for  preference,  and  not  less 
than  2  inches  thick.  If  the  maker  take  my 
advice,  he  will  buy  an  iron  chase  in  which  to 
wedge  up  the  type ;  the  best  size  is  about 
1 0  inches  by  8  inches  ;  a  very  suitable  one  is 
that  sold  by  the  Birmingham  Machinists'  Co. 
as  the  "  Simplissimus  "  No.  1  chase  ;  it  costs  three 
shillings.  My  reason  for  mentioning  this  now 
is  that  the  chase  should  be  bought  first,  and  the 
press  made  the  size  to  fit  it.  I  will  suppose  that 
we  are  making  the  press  to  fit  this  chase, 
which  will  be  10  by  8  inches  inside,  and 
consequently  12  by  10  inches  outside.  First 
prepare  the  bed,  a,  as  I  said  before,  of  2-inch 
mahogany,  13  inches  long  by  10  inches  wide; 
also  the  platen,  b  (Figs.  1,  2,  and  3),  which 
must  be  of  the  same  thickness  and  width,  but 
1  inch  shorter.  These  two  pieces  must  be 
planed  up  very  true  on  one  side,  and  the  edges 
squared ;  they  may  then  be  hinged  together 
with  a  pair  of  strong  flap  hinges,  as  shown ; 
great  care  must  be  taken  to  get  them  exactly 
parallel',  and  of  the  right  distance  apart,  which 
is  Yi  inch.  The  bed  and  platen  being  hung 
satisfactorily  together,  prepare  two  pieces  of 
tough  ash,  9  inches  long  and  H  inches  square  ; 
these  are  the  pieces  marked  c  in  the  figures ; 
they  must  be  screwed  firmly  to  the  end  of  the 
bed,  as  shown.  I  have  only  drawn  one  screw 
in  each,  but  it  would  be  better  to  put  two,  as 
these    pieces    have    to    bear    great   strain.     I 


AN  BASIL  Y  MADE  PRINTING  PRESS. 


565 


omitted  to  say  that  these  pieces  should  be 
screwed  in  the  centre  of  end  of  bed,  -with  a 
space  of  1J  inches  between  them.  This  space  is 
for  the  lever,  d,  which  can  now  be  prepared  ;  it 
should  be  also  of  ash,  and  not  less  than  3  inches 
wide,  and  about  18  inches  long.  Before  fixing 
the  lever  in  place,  the  pressure  bar,  e,  should  be 
put  on  ;  this  is  a  piece  of  iron  about  2  inches  by 
§  inch,  and  is  screwed  on  the  top  of  the  front  end 
of  platen,  as,  if  the  lever  pressed  on  the  wood 
only,  it  would  soon  wear  it  out,  and  the  pressure 
would  be  very  uneven.     Having  fixed  this  bar, 


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DESCRIPTION   OF   FIGURES. 


FIG.  I.  — PRESS  COMPLETE.  FIG.  2.— FRONT  END  OF  PRESS.  FIG.  3.— BACK  OF 
PRESS.  FIG.  4.  — CLIP  TWO-THIRDS  FULL  SIZE  ;  A,  BED  ;  B.  PLATEN  ;  C,  ASH 
FULCRUM  ;  D,  LEVER  ;  E,  PRESSURE  BAR  ;  F,  BOLT  ;  G,  REGULATING  SCREW  ; 
H,  CLIP. 


place  a  piece  of  wood  of  the  same  thickness  as  the 
type  is  high  (H  inch)  in  between  the  bed  and 
platen  ;  put  the  lever  in  position,  as  shown  in 
Fig.  1 ;  only  block  up  the  handle  end  about  A-  inch ; 
then  bore  through  the  two  uprights  and  the  lever 
for  the  bolt,  f,  which  should  be  \  inch  in 
diameter.  Having  bored  the  hole,  put  in  the  bolt, 
and  screw  up  just  tight  enough  to  allow  the  lever 
to  work  up  and  down  easily  ;  then  put  in  a  2-inch 
screw  at  the  back  end  of  platen,  immediately 
under  the  lever,  so  that  the  latter  will  come 
down  on  it  at  every  impression ;  this  is  to 
regulate  the  pressure.  For  instance,  if  a  visiting 
card  is  being  printed,  very  little  pressure  is 
required.     "We   should   then   loosen  the  regu- 


lating screw  until  it  stood  up  about  1  inch ;  if, 
on  the  contrary,  we  were  printing  a  full  page  of 
type,  we  should  turn  in  the  screw  as  low  as 
possible,  so  as  to  allow  the  lever  to  exert  more 
pressure. 

We  must  now  arrange  for  fixing  the  iron 
chase  on  the  bed  of  press.  The  one  I  recom- 
mend is  made  with  one  of  the  long  sides  square, 
and  the  other  bevelled  at  about  an  angle  of  40°  ; 
in  the  square  side  are  two  semicircular  holes. 
Now  I  fixed  mine  in  this  way:  lay  the  chase  in  the 
position  it  will  occupy,  and  in  these  semicircular 
holes  screw  a  round  head- 
screw  in  far  enough  that  the 
heads  grip  the  chase,  and  hold 
it  down  ;  then,  to  fix  the 
other  side,  make  two  pieces 
for  clips  (h,  Figs.  2  and  3).  I 
have  shown  one  full  size  in 
Fig.  4.  Screw  these  on,  as 
shown  in  Fig.  1,  when,  as  will 
be  seen,  the  bevel  will  press 
the  chase  against  the  screw, 
and  also  hold  it  down  firmly. 
To  take  out  the  chase,  all  that 
is  necessary  is  to  slacken  the 
screws  in  the  clips,  and  it  can 
then  be  lifted  out,  type  and 
all.  The  type  should  never  bo 
washed  when  on  the  bed  of 
press. 

Before  using  the  press,  paste  a 
few  thicknesses  of  good  smooth 
paper  on  the  platen,  to  take  the 
pressure.  If  it  prints  blackest  at  the  hinge  side 
of  the  platen,  take  a  sheet  or  two  off;  if  the 
front  side  is  blackest,  put  another  sheet  or  two 
on.  It  is  very  easy  to  regulate  the  pressure  in 
this  way  ;  and  though  a  great  many  people  deny 
it,  I  can  turn  out  as  good  work  in  small  things, 
such  as  cards,  bill  and  note  headings,  etc.,  as 
can  be  done  on  a  press  costing  £50,  though,  of 
course,  it  takes  me  much  longer  to  do  it.  Do 
not  make  any  of  the  timber  smaller,  as  what  is 
wanted  for  printing  is  a  firm  heavy  pressure, 
and  a  yielding  one  will  not  do;  do  not  expect  to 
print  large  posters  on  a  wooden  press,  but 
confine  it  to  its  proper  work,  and  you  will  be 
satisfied  with  its  performance  in  every  way. 


=F=F 


0 
0    0 


XI 


F1C.3 


566 


HOW  I  MADE  A    CHICKEN  COOP  AND  J? UN. 


Perhaps  I  should  mention  that  it  'would  be  as 
well  to  give  the  press  a  coat  of  varnish  all  over, 
to  protect  it  from  the  effects  of  heat  and  cold, 
and  it  would  also  improve  it  if  the  bed  was 
covered  with  a  sheet  of  zinc,  which  could  be 
screwed  on  ;  care  must  be  taken  not  to  put  any 
screws  where  the  type  would  come,  but  keep 
them  all  within  1  inch  of  the  outside.  The  zinc 
must  also  be  put  on  before  the  platen  and  bed 
are  hinged  together,  or  too  much  pressure  will 
be  the  result.  I  hope  that  all  readers  of 
Amateur  Work  may  be  as  successful  as  I  was 
in  making  the  machine,  as  printing  i3  a  very 
profitable  and  pleasant  amusement,  which  ought 
to  be  taken  up  far  more  than  it  is.  If  at  any 
time  instructions  are  required  as  to  the  printing 
proper,  I  should  be  pleased  to  give  them,  as  I 
think  an  amateur  can  often  instruct  a  brother 
amateur  far  better  than  a  professional  can,  as  he 
will  think  of  many  things  which  the  latter  would 
take  as  a  matter  of  course.  I  dare  say  the 
printers,  or  rather  compositors,  who  set  this  up 
will  differ  from  me  here  ;  but  I  shall  still  think 
I  am  right,  though,  no  doubt,  I  shall  be 
reminded  that,  "Where  ignorance  is  bliss,  'tis 
folly  to  be  wise." 


HOW 


I  MADE  A  CHICKEN  COOP 
AND   RUN. 

By  CLERICUS  SECUNDUS. 


WiSS&ilfi  PaSe  11°  of  Amateur  Work,  Vol.  III., 
New  Series,  the  Editor,  in  answer  to 
a    correspondent,    asks    for    a   short 


article  on  the  above  subject. 

This  is  an  answer  to  the  above  request.  True, 
my  coop  is  not  quite  the  shape  of  that  sketched 
by  the  correspondent  in  question,  but  "  an  ounce 
of  experience  is  worth  a  pound  of  theory,"  says 
the  proverb  ;  and  in  a  coop  and  run  made  as 
follows,  I  have,  in  the  heart  of  a  large  city, 
reared  several  successive  broods  without  losing 
a  single  chick;  so  I  think  I  am  entitled  to  recom- 
mend it  to  any  amateur  intent  on  the  very 
interesting  pursuit  of  chicken  rearing. 

Two  things  a  coop  should  provide  for  :  shelter 
and  ventilation.  Three  things  it  should  pro- 
vide against  :  damp,  draught,  and  vermin.     By 


the  latter  term  I  do  not  merely  mean  rats, 
mice,  etc.  (though  these,  too,  can  be  provided 
against).  I  mean  the  vermin  which  find  board 
and  lodging  on  the  bodies  of  the  birds,  and  work 
untold  havoc  with  the  health  and  growth  of  our 
proteges.     Our  coop,  properly  looked  after,  will, 

1  trust,  be  found  to  meet  all  these  requirements. 

The  wood  should  be  §  inch  deal ;  it  need  not 
be  thicker.  It  should  be  well  seasoned,  but  need 
not  be  of  the  first  quality.  By  all  means  let  it 
be  grooved  and  tongued  ;  this  will  ensure  a  close 
joint,  excluding  draught,  and  affording  no  shelter 
for  vermin  between  the  planks.  The  size  may 
vary,  of  course,  and  a  good  deal  depends  on  how 
long  the  chicks  are  to  be  left  in  possession.  I 
always  let  mine  run  as  soon  as  they  were  big 
enough  to  take  care  of  themselves,  unless  I 
wished  to  fatten  them,  in  which  case  I  transferred 
them  to  another  coop. 

The  accompanying  sketches  are  intended  to 
represent  a  coop  about  2  feet  square  as  to  area, 

2  feet  3  inches  high  in  front,  and  dropping  to 
2  feet  at  the  back.  I  found  this  to  answer  all 
requirements. 

Big.  1  shows  one  side  of  the  coop.     The  wood 

1  used  was  7  inches  wide  (nominally),  which, 
exclusive  of  the  tongue,  gave  a  little  over  6J- 
inches.  Bour  widths,  with  the  tongue  and 
groove  removed  from  the  outer  ones,  gave  about 

2  feet  1  inch.  I  cut  them  all  2  feet  3  inches 
long,  jointed  them  up  temporarily,  marked  3 
inches  off  the  back  edge  of  the  right-hand 
plank,  drew  the  sloping  line,  separated  them 
again,  and  cut  the  pieces  at  the  angle  marked. 
I  nailed  two  h  inch  wide  strips,  1  inch  apart, 
down  the  front  edge,  to  serve  as  runners  to  the 
barred  front,  and  two  top  and  bottom,  to  keep 
the  planks  together  and  prevent  warping.  The 
bottom  strips  also  served  as  runners  for  the 
floor  of  the  coop.  Of  course,  the  other  side  was 
made  similar  in  size  and  shape,  the  runners 
being  naturally  all  on  the  inner  side. 

Then  came  the  back.  This  I  also  made  of  four 
widths  of  plank,  1  foot  9  inches  long,  and  held 
together  by  two  strips,  which  being  also  1  foot  9 
inches  long,  left  2  inches  clear  each  end,  as  in 
Big.  2.  I  screwed  this  to^the  sides,  the  top  of  the 
back  being  flush  with  that  of  the  sides,  and  hence 
leaving  a  clear  space  at  the  bottom  of  3  inches. 


HOW  I  MADE  A    CHICKEN  COOP  AND  RUN. 


567 


I  then  nailed  two  strips,  2  inches  broad,  across 
the  front  of  the  coop,  top  and  bottom,  so  as  to 
make  the  whole  firm. 

I  next  made  the  floor.  This  I  wanted  to  slide 
in  and  out,  like  the  bottom  of  a  bird-cage  ;  so 
the  planks,  to  avoid  needless  friction,  were 
arranged  lengthwise  of  the  coop.  I  made  the 
floor  1  foot  10i  inches  square,  and  by  taking  out 
a  small  square  piece  from  the  two  front  corners 

— z:  r — - 


chicks  have  free  access  to  the  run.  At  the  same 
time  it  must  be  removable,  so  that  at  any  time 
the  mother  bird  may  also  be  let  out. 

The  framework  of  this  front  was  of  wood, 
2  inches  wide.  The  two  sides  were  2  feet  2  inches 
long,  top  and  bottom  being  1  foot  1 1  inches.  I 
might,  of  course,  have  mortised  these  pieces,  but 
considered  it  waste  of  time,  so  I  halved  the  ends. 
For  the  benefit  of  any  reader  who  may  know 


(J;1 

I'" 


m 


'lh 


FIG. 2 

Back.  of  Coop. 


Fic.7.a 
jfiaged  joints 


FIG. 6. 

Coop  complete  with  night  slzztZsr 
hinged,  on.  in  front, 
■<■-<?-■--  —  i "li  Q-> 


a-  a. 


Fi  c.i. 
Side  of  Coop. 


*~~~~,.  — -^-._^"-— .  j-— -~  ^-  \t\. 

*?Y> — c ■ : 

:=— ^ — -^*, — :»^_      — —  ^N\ 

*  V~rr 

.-  j-^*^^^"— — -^^^T^j-^-^jyVv 

-    """  —    - ~ — ao\ 

°«1 

— =^=^== — — -       — -               -  XI  \\ 

»iv^^- :  —  — __  ~====::-^ir2~~^---  \^\. 

Nfczr-_ — —  _        —    -             -            -  "\,^V 

\\c      — ^^  ■ — ■*-—  ■ — -Cr^^x. \^ 

4^UllUimjlULUIilliauri!.ll.    M!>>M.IJ<ll,l'l>n 

I  could  slide  it  up  close  to  the  barred  front. 
I  nailed  two  strips  underneath  the  floor,  of 
course ;  these  were  1  foot  8  inches  long,  and  so 
cleared  the  runners  on  either  side. 

I  now  cut  a  3-inch  strip,  to  fit  the  empty  space 
below  the  back  of  the  coop,  and  nailed  it  to  the 
back  edge  of  the  floor  (see  Fig.  3).  The  strip 
might  have  been  hinged  on  to  the  back  of  the 
coop,  but  I  found  my  plan  to  answer  quite 
i.~.  well. 

My  next  job  was  the  barred  front  (Fig.  4). 
This,  of  course,  is  to  confine  the  hen,  while  the 


FID. 3. 

Ifloor  oft  Coop. 


FIC.4-. 

£arred  front  of  Ccop. 


nothing  of  carpentry,  I  have,  in  Fig.  5,  tried  to 
show  how  a  halved  joint  is  prepared.  A  touch 
of  glue  and  a  couple  of  screws  will  make  it  as 
fast  as  need  be.  Four  bars,  \\  inches  wide,  were 
fixed  2-i  inches  apart ;  these,  too,  were  halved 
in,  and  the  barred  front  was  complete.  Two 
rings  may  be  fixed  to  lift  it  in  and  out  by,  but 
are  not  really  necessary.  An  inch  wide  stop 
must  be  fixed  at  the  bottom  of  the  groove  in 
which  the  front  drops,  else  it  will  drop  through 
should  the  coop  be  moved  bodily. 

I  also  provided  a  night  shutter ;  this  might 


5C8 


HOW  I  MADE  A    CHICKEN  COOP  AND  RUN, 


have  been  made  the  same  size  and  shape  as  the 
barred  front,  the  latter  being  removed  at  night, 
and  the  shutter  dropped  in  in  its  stead.  Should 
this  plan  be  adopted,  it  will  be  necessary  to 
make  a  row  of  holes  along  the  upper  edge  of  the 
shutter,  with  the  brace,  for  the  sake  of  ventila- 
tion ;  and  if  there  are  really  rats  and  mice 
about  the  premises,  this  is  the  better  plan. 
I  was  not  troubled  in  this  way,  however,  so 
made  my  shutter  so  as  to  come  about  2  inches 
short  of  the  top  of  the  coop,  and  hinged  it  to  the 
bottom  strip  across  the  front  of  the  coop  (see 
Kg.  6).  This  was  convenient,  the  food  and  water 
being  placed  on  it,  with  the  advantage  of  being 
readily  cleaned. 

Next  came  the  cover.  I  first  screwed  down 
a  6^-inch  plank  the  requisite  length,  leaving 
an  open  space  of  3  inches  just  over  the  barred 
front ;  I  then  prepared  a  strip  3  inches  wide,  and 
a  cover  1  foot  5  inches  broad,  each,  of  course, 
being  2  feet  1  inch  long.  These  I  hinged  to  the 
central  plank,  and  was  thus  enabled  either  to 
remove  the  barred  front  without  disturbing  the 
birds,  or  to  obtain  ready  access  to  the  interior  of 
the  coop.  An  objection  to  this  plan  may  be  that 
the  roof  is  not  water-tight,  and  that  the  span  roof 
is  better  in  this  respect.  As  I  should  never  by  any 
chance  leave  chickens  out  in  the  wet,  the  objec- 
tion has  no  weight  with  me.  If,  however,  the 
span  roof  is  a  sine  qua  non,  the  door  may  be 
made  at  the  back,  and  the  barred  front  be 
pushed  in  through  an  opening  in  the  side.  But 
I  made  mine  as  described. 

My  coop  was  now  completed  ;  and  Fig.  6  will 
give  an  idea  of  its  general  appearance. 

My  next  care  was  the  run,  which  was  to  con- 
fine and  protect  the  brood  from  all  foes ;  this 
was  made  of  four  hurdles  (so  to  speak),  with  wire 
netting  stretched  across.  I  used  1  inch  mesh, 
but  found  it  too  large,  and  would  recommend 
i  inch.  I  have  somewhere  read  a  recommenda- 
tion to  make  these  in  pairs  of  various  sizes ;  the 
advantages  of  this  plan  are — facility  of  stowing 
away  these  separate  hurdles,  and  the  readiness 
with  which  they  can  be  combined  to  make  a  run 
of  any  requisite  length  and  width.  The  hurdles 
are,  in  such  cases,  fastened  together  with  wire, 
or  even  stout  twine.  I,  however,  knew  what  I 
wanted  in  point  of  size,   and  thought  I  could 


obtain  the  facilities  in  the  matter  of  stowage 
without  resorting  to  the  somewhat  makeshift 
plan  above  mentioned  ;  so  I  proceeded  to  make 
a  "  collapsible  "  or  folding  run  of  the  following 
dimensions — length,  6  feet ;  height  and  breadth 
same  as  the  coop,  viz.,  2  feet  1  inch  and  2  feet 
3  inches,  respectively.  I  made  my  first  hurdle 
or  framework  the  full  size,  6  feet  by  2  feet  3 
inches,  the  rails  being  about  2\  inches  wide ; 
these  I  halved  at  the  corners,  and  bevelled  the 
top  rail  on  the  under  outer  edge  to  an  angle  of 
45  degrees. 

The  hurdle  for  the  opposite  side  was  less  in 
breadth  by  f  inch  (the  thickness  of  the  wood), 
and  was  not  bevelled  ;  otherwise  it  corresponded, 
with  its  fellow. 

The  end  hurdle  was  of  the  same  breadth  as 
the  second  side  just  mentioned,  and  was  1  foot 
11£  inches  long,  so  as  to  fit  exactly  between  the 
two  sides. 

The  cover  was  made  6  feet  long  (two  of  3  feet 
would  have  been  better)  by  2  feet  1  inch  across, 
one  of  the  outer  edges  of  rails  being  bevelled  to 
an  angle  of  45  degrees. 

I  then  placed  the  end  hurdle  between  the  two 
sides,  the  three  being  flush  at  the  bottom,  and 
prooeeded  to  hinge  them  ;  one  side  I  hinged  out- 
side, as  Fig.  7b,  and  the  other  inside,  as  Fig.  7c. 
I  then  laid  the  cover  on  the  run,  so  that  its 
bevelled  edge  coincided  with  that  of  the  broader 
side,  and  screwed  on  two  hinges  on  the  outside  ; 
Fig.  7a  will,  I  trust,  make  this  joint  clear. 
The  cover  resting  on  the  other  side,  which  had 
been  made  f  inch  less  wide,  lay  perfectly  level ; 
it  can  be  fastened  down  in  any  way  which  re- 
commends itself  ;  mine  had  simply  a  hook  and 
eye.  Two  hooks  and  eyes  on  either  side  kept 
the  run  fastened  to  the  coop.  When  done  with, 
the  cover  was  folded  right  backward,  and  lay 
against  the  outside  of  the  hurdle  to  which  it  was 
hinged,  and  the  two  sides  were  then  brought 
into  contact,  the  length  of  the  whole  being  then, 
naturally,  8  feet. 

I  gave  the  inside  of  the  coop  (except  the  floor) 
two  coats  of  limewash,  in  which  a  fair  proportion 
of  size  had  been  melted;  this  was  applied  hot. 
The  rest  of  the  woodwork  of  both  ran  and  coop 
received  three  coats  of  paint. 

When  in  use  I  covered  the  floor  with  \  inch 


NOTES   ON  NOVELTIES. 


569 


of  dust  sifted  out  of  the  ashes  ;  this  made  a  nice 
soft  bed  for  the  chicks,  prevented  damp  and 
draught,  and  facilitated  the  daily  cleansing  I 
gave  my  young  families. 

Between  each  brood  I  washed  out  the  coop 
thoroughly  with  water  and  a  little  carbolic 
acid,  and  once  I  rewashed  it  with  the  lime- 
wash  ;  the  result  was,  my  chickens  throve,  and 
vermin  was  unknown. 

In  conclusion,  I  would  poi  at  out  that  the  coop 
can  be  rendered  thoroughly  rat-proof  by  nailing 
wire  netting  around  the  sides   and  under  the 

flooring. 

♦ 

COLOURED  PHOTOS. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


N  article  which  appeared  in  a  recent 
part  of  this  magazine,  and  giving  an 
gj^jjj  account  of  researches  in  the  direction 
of  colour-photography,  demonstrated  to  my 
mind  that  success  is  still  far  distaut,  and 
that  the  experiments  of  photographers  who 
still  hope  to  produce  pictures  by  the  camera, 
showing  natural  colours,  has,  up  to  the  present, 
for  result  little  or  no  practical  use.  Amateurs, 
however,  will  have  no  fancy  for  the  pursuit  of 
what  may  prove  a  chimera  ;  but,  doubtless,  they 
will  feel  interested  in  the  following,  which  is 
extracted  from  the  St.  Louis  Photographer  : — 

"  Good  effects  may  be  produced  with  the  new 
positive  films,  that  will  find  approval ;  and  as 
the  process  is  so  simple,  and  the  results  so 
beautiful,  anyone  may  produce  good  results  at 
once.  Dealing  with  portraits  may  require  a 
little  more  careful  handling  ;  still  the  process  is 
not  difficult  It  will  probably  be  as  well  to  try 
on  a  landscape  first.  Procure  a  landscape 
negative,  and  print  slightly  on  albumen  paper, 
making  a  very  weak  print  when  fixed — toning 
not  necessary ;  washed  and  dried,  by  adding  a 
small  quantity  of  glycerine  to  the  last  wash 
water,  the  print  will  lie  flat  when  dry,  and  be 
less  troublesome  in  after  manipulations.  After 
the  print  is  dry,  colour  according  to  taste, 
making  the  colouring  as  brilliant  as  possible. 
Now  fasten  to  the  coloured  side  a  positive  film, 
which  has  been  printed  from  the  same  negative. 
The  two  combined  will  produce  very  artistic 
effects,  and  will  meet  with  ready  sale." 


g^S^gANTTLRVER  BOWL  CASTOR.— A.  Marina- 
H  duke  Hart,  Vicarage  Park,  Plumstead,  London, 
Kj-  S.E.  It  was  almost  time  that  something  new 
82  was  devised  to  check  the  vexatious  damage  that 
furniture  and  carpets  had  suffered  through  our  reposing 
a  too  confiding  trust  in  the  old-fashioned  castor.  The 
cantilever  castor  is  designed  with  due  regard  to  strength 
p  ^ lVi. ^»  j^ 


and  durability,  and  at  the  same  time  upon  principles  which 
ensure  perfectly  easy  and  free  movement  to  whatever  piece 
of  furniture  it  is  attached.  The  action  is  always  responsive, 
for  the  roller  is  never  inclined  to  stick  ;  and  there  is  no 
doubt  that  when  the  advantages  of  this  castor  become 
better  known,  it  will  be  generally  adopted  by  the 
furniture  trade. 

Working  Drawings  for  Cabinet  Makers. — Messrs.  Zilles 
and  Co.,  24,  Wilson  Street,  Finsbury,  London,  E.  C.  This 
series  of  designs,  extending  to  thirty-five  large  sheets  of 
working  drawings,  will  prove  useful  to  the  working  cabinet 
maker,  representing  as  they  do  details  of  work  set  out  in 
full  size.  They  may  be  somewhat  advanced  for  the 
amateur,  yet  even  he  may  study  them  with  advantage,  for 
they  will  furnish  him  with  ideas  for  construction,  and 
supply  bits  of  ornament  when  he  lacks  such  wherewith 
to  complete  a  design. 

New  Series  of  Geographical  Models. — -Henry  F.  Brion, 
17,  The  Gardens,  Peckham  Rye,  S.E.  These  models  differ 
from  the  ordinarily  accepted  relief  model,  in  having  the 
plaster  of  which  they  are  composed  left  entirely  without, 
covering,  and  bare,  the  idea  being  that  a  glittering  white- 
ness of  material  is  better  calculated  to  show  inequalities  of 
ground  than  a  surface  varnished  or  elaborated  by  other 
means  would  do.  The  model  of  Europe,  sent  to  me  by 
Mr.  Brion,  is  certainly  a  work  of  art,  and  an  interesting 
companion  to  a  text-book  of  geography,  and  is  a  much 
better  instructor  than  ever  a  map  could  be.  The  models 
now  ready  for  sale  are  as  follows — Europe,  Asia,  Palestine, 
and  the  British  Isles  ;  and  their  constructor,  having  devised 
a  quicker  method  of  casting  than  hitherto  employed,  is 
VOL.  III.  (n.S.) — Y  Y 


570 


"AMATEUR    WORK"   PRIZE   SCHEME. 


enabled  to  supply  them  at  3s.  each ;  an  exceedingly  low 
price  when  it  is  considered  they  are  each  protected  by 
glass,  and  placed  in  a  neat  frame,  ready  for  suspension 
upon  the  walls  of  school-room  or  study. 

Tool  Merchant's  Catalogue. — H.  A.  Hobday,  45,  High. 
Street,  Chatham. — A  tool  merchant's  catalogue,  when 
properly  compiled,  is  always  a  welcome  addition  to  the 
worker's  library,  for  its   utility  is  not  exhausted  even  by 


BENCH    DRILL,    NO.    713. 

reference  to  every  item  it  contains.  The  catalogue  Mr. 
Hobday  Bends  me  is  worth  preserving  for  several  reasons  : 
the  first,  of  course,  is  the  reasonable  charges  at  which  the 
articles  are  obtainable,  and  that  is  a  feature  that  will  com- 
mend it  to  amateur  and  workman  alike  ;  then  the  way  in 
which  its  contents  are  arranged,  renders  reference  so  easy 
that  a  peruser  of  it  is  led  to  the  article  he  is  in  quest  of 
directly  aud  with  certainty.  I  would  advise  any  person 
who  is  about  to  procure  new  tools,  to  make  application  for 


BENCH    DRILL,    NO.    714. 

this  book,  by  sending  his  address  to  Mr.  Hobday,  together 
with  stamps  to  cover  postage  ;  that  is  all  the  expense  he 
need  incur.  This  list  classifies  tools  under  headings  of  the 
trades  to  which  they  are  peculiar,  and,  further,  it.  arranges 
them  in  alphabetical  order;  and  herein  lies  the  secret  ol 
easy  reference.  There  are  a  great  variety  of  articles  to 
select  from ;  and  when  I  mention  that  the  items  are 
numbered  in  the  catalogue  from  1  to  1,270,  and  that  the 
sections  are  twenty-four  iu  number,  the  reader  will  gather 


some  idea  of  the  amount  of  business  done  by  Mr.  Hobday's 
firm,  and  of  the  number  of  trades  they  are  able  to  serve 
with  necessary  appliances.  Glancing  through  the  engineer's 
section  of  this  catalogue,  I  find  among  other  tools  of  like 
character  some  exceedingly  useful  and  cheap  bench  drills  ; 
one  of  these,  No.  713,  is  supplied  for  the  small  amount  of 
10s.,  which,  I  should  think,  would  be  within  the  means  of 
all  amateurs.  No.  714,  next  in  series,  is  larger,  and  costs 
£1 ;  this  is  essentially  a  valuable  tool.  Possessing  one  of 
these  bench  drills  myself,  I  am  able  to  vouch  that  its 
capabilities  are  all  that  an  amateur  is  likely  to  demand  ; 
but  a  workman  will  discover  them  as  soon  as  he  begins  to 
operate  with  it,  and  no  doubt  will  develop  its  utility  in  a 
very  extended  manner.  These  two  bench  drills  are  shown 
in  the  illustrations  appended  to  this  notice. 


AMATEUR  WORK  PRIZE  SCHEME. 

RESULT   OF  COMPETITION  XVI. 


XVI. — A  Prize  of  One  Guinea  awarded  for  the  best 
Speciaiens  of  Amateur  Wood  Engraving. — This 
competition  did  not  bring  about  a  spirited  contest 
by  any  means,  but  quite  the  reverse,  as  only  two 
competitors  thought  fit  to  enter  the  lists.  I  am 
rather  disappointed  at  this  want  of  interest  in  a 
subject  which  I  certainly  thought  possessed  many 
attractions  for  amateurs ;  but  I  suppose  the  real 
fact  is  that  very  few  appreciate  the  advantages  an 
ability  to  follow  the  beautiful  art  of  wood  engraving 
conveys,  and  I  am  compelled  to  confess  myself  sur- 
prised also,  when  I  think  of  the  little  money  that  it 
takes  to  Btart  an  amateur  with  tools  for  wood 
engraving,  and  then  compare  it  with  the  elaborate 
and  costly  outfitB  ueceBsary  for  following  other 
pursuits,  some  of  which  are  not  productive  of  such 
pleasing  results. 

With  regard  to  the  award,  it  has  been  in  effect  a  walk  over 
for  one  competitor,  although  if  more  specimens  had 
been  sent  in  I  still  believe  that  Mr.  Morton's 
blocks  would  have  borne  the  palm  for  the  real  skill 
they  manifest.  The  woodcuts  before  me,  whilst 
being  purely  amateur  work,  are  yet  undistinguish- 
able  from  work  done  by  a  professional  wood 
engraver.  I  have,  therefore,  pleasure  in  awarding 
the  prize  of  One  Guinea  to  Mr.  P.  S.  Morton,  151, 
Cumberland  Street,  Portland,  Maine,  U.S.A. 

The  other  specimen  I  can  only  characterise  as  a  very  sorry 
monument  to  a  man's  patience.  The  sender  of  this 
says  that  he  did  the  work  with  the  corner  of  a 
\  inch  chisel,  and  I  quite  believe  him  ;  but  I  regret 
that  he  should  have  wasted  valuable  time  in 
experimenting  with  makeshifts,  when  a  small  outlay 
for  proper  tools  would  have  placed  within  his  graBp 
the  means  of  working  easily  and,  perhaps,  with 
masterly  effect.  This  competitor  must  forgive  my 
warmth  ;  but  really  I  do  not  like  to  see  perseverance 
treated  with  such  injustice  by  its  possessor. 


AMATEURS  IN  COUNCIL. 


571 


AMATEURS  IN  COUNCIL. 


OPEX   TO   ALL  HEADERS. 


Promised  Subjects. 

H.  Sweeden  writes: — "Hope  de- 
ferred maketh  the  heart  sick'';  and  if 
ever  man  was  sick  unto  dropping  a  paper, 
I  am,  caused  by  your  continually  mak- 
ing and  breaking  promises.  I  am  an 
amateur  photographer,  living  in  a  very 
small,  very  lonely,  but  very  lovely 
village.  Living  as  I  do  'midst  friends 
whom  I  have  known  from  childhood, 
and  surrounded  by  the  loveliest  scenery 
in  all  broad  England,  you  will  believe 
me  when  I  tell  you  that  I  live  only  to 
impress,  ever  and  ever  more  perfectly 
and  artistically,  on  a  gelatine  plate,  the 
images  of  my  friends  and  of  my  beloved 
scenery.  I  have  taken  your  somewhat 
mercurial  paper  in  from  the  commence- 
ment, and  in  the  first  volume  of  the  Old 
Series,  on  page  302,  you  raised  my 
hopes  to  the  highest  possible  point  on 
the  journalistic  scale  ;  but,  sad  to  tell, 
they  have  fallen  since,  stopped  at  long 
intervals  by  your  promises,  the  last 
made  as  late  as  February,  when  the 
hand  camera  was  promised  by  April. 

"  Wretched,  worried  Editor,  explain, 
if  you  can  ;  but  should  shame  hold  you 
in  her  iron  clutches,  do  penance,  not  in 
sackcloth  and  ashes,  but  in  spending 
the  midnight  oil  in  hunting  for  that 
lost  article,  which  'just came  to  hand  ' 
six  months  ago. 

"Hope,   like   the  glimmering  taper's 
light, 
Illumes  and  cheers  the  way ; 
And  still  as  darker  grows  the  night, 

Emits,  and  cheers  the  way." 
"  I  am  one  who  '  hopes  to  see  it  nexi 
month." 

[Oh,  thrice  fortunate  correspondent, 
whose  ways  are  set  in  pleasant  places, 
and  who  dwells  in  the  midst  of  a  lovely, 
lonely  land,  moderate  your  rancour, 
and  discover  if  thou  canst  some  grain  of 
sympathy  for  the  wretched,  worried 
Editor,  who,  compelled  to  spend  his  day 
in  the  neither  lovely  nor  lonely  printing- 
office,  is  at  your  service  ever.  Learn 
for  your  satisfaction  that  the  article  you 
hoped  for  so  long  is  arranged  to  appear 
in  the  November  Part,  having  lain  upon 
our  table  for  a  considerable  period, 
waiting  till  opportunity  and  space  were 
agreeable.  I  trust  this  knowledge  will 
cure  your  heart-sickness. — Ed.] 


Model  Locomotive  Building. 

"  Watching  "  writes : — "  Just  a  line 
to  ask  you  if  you  will  try  and  let  us 
have  the  paper  on  '  Model  Locomo- 
tive Building'  in  this  volume  of 
Amateur  Work.  You  promised  it 
in  Vol.  II.,  New  Series;  and  now 
the  winter  evenings  are  coming,  I 
think  it  would  be  just^the  thing.  Please 
do  not  take  this  as  an  unthankful 
grunt  on  my  part,  as  there  is  not  a 
book  that  I  can  afford  to  pay  for  that 
gives  such  an  amount  of  amusement 
and  knowledge  as  does  Amateur 
Work." 

["Watching"  will  find  his  request 
attended  to  in  the  present  Part.  His 
approval  of  the  magazine  is  very 
gratifying. — Ed.] 

Copper-facing  Carbons. 
E.  Montgomery  writes:  —  "  Will 
any  kind  reader  of  Amateur  Work  tell 
me  how  I  can  electro-copper  the  ends 
of  some  carbon  plates  which  I  wish  to 
solder  on  to  some  terminals  ?  also,  can 
it  be  done  with  Leclanche  cells  ?  Any 
information  on  above  will  greatly 
oblige." 

Simple  Ornamental  Turning. 

"Clericus  Secundus"  writes: — "I 
have  cjust  discovered,  to  my  cost,  an 
oversight  in]  the  figures  given  by  Rov. 
J.  L.  Dwyer  in  his  "Chapters  on 
Simple  Ornamental  Turning,"  and 
hasten,  with  apologies  to  him,  to  point 
it  out,  lest  others  find  themselves  in  the 
same  difficulty. 

"  He  gives  the  size  of  the  shank  for 
the  eccentric  cutter  as  \  inch  square ; 
just  beyond  the  shank  is  a  turned  part, 
%  inch,  to  take  a  disc,  the  hole  in  which 
will,  of  course,  be  also  §  inch.  But  on 
these  terms  the  disc  could  not  pass 
over  the  square  shank,  the  diagonal  of 
a  A  inch  square  being  nearly  J  inch.  It 
will  be  necessary,  therefore,  that,  the 
turned  part  beyond  the  shank  be  at 
least  J  iuch,  the  hole  in  the  disc  being 
a  like  size,  of  course.  In  that  case,  the 
Bhoulder  against  which  the  disc  re- 
volveB  (given  as  J  inch)  must  also  be 
increased. 

"  May  I  conclude  by  testifying  to  the 
interest  and  value  of  the  above  articles, 
and  also  to  my  admiration  of  Mr. 
Dwyer's  generous  offer  to  drill  a 
division-plate  at  a  nominal  cost  for 
such  of  your  readers  as  may  desire 
one." 


"  Many  thanks  to'  Clericus  Secundus' 
for  the  courteous  and  gentlemanly 
manner  in  which  he  draws  my  attention 
to  the  mistake  in  question.  The 
dimensions  given  were  those  of  an 
actual  cutter  shank,  and  the  discrepancy 
occurred  probably  in  this  way.  The 
round  part  beyond  the  square  is  rather 
more  than  £  inch  diameter,  and  the 
corners  of  the  square  are  taken  off  until 
the  disc  can  pass  over.  If  the  round 
part  were  \\  inch,  the  smallest  Bhade 
off  the  corners  would  be  sufficient,  as 
the  diagonal  of  a  A  inch  square  differs 
by  only  J$  inch  from  Ji  inch,  and  half 
of  this  would  be  at  each  opposite 
corner. 

"  A  more  important  matter  is  that 
there  is  a  standard  size  generally  recog- 
nised for  the  shank,  viz.,  ^  inch,  this 
being  the  size  of  the  tool  channel  in 
ornamental  slide-rests.  It  would  be 
well  if  those  who  make  an  eccentric 
cutter  would  have  the  shank  that  size, 
and  increase  the  shoulder  and  disc  in 
proportion." — J.  L.  D. 

Amateur's  Work  and  Iron  Planes. 

J.  S.  B.  writes  : — "  Talking  one  day 
with  an  amateur,  we  came  to  the  con- 
clusion that  amateurs'  work  was  spoilt, 
by  the  want  of  proper  tools,  so  I  pur- 
chased an  iron  plane,  which,  owing  to 
the  handle,  is  more  easier  to  work  than 
a  wooden  one ;  and  now  I  can  plane  a 
lot  better  ;  in  fact,  I  only  want  practice 
to  be  as  good  as  a  professional.  I  have 
made  the  carpenter's  bench  described 
in  Vol.  II.,  Old  Series,  and  I  like  it, 
very  much  ;  in  fact,  I  planed  legs  and 
side  pieces  with  the  aforementioned 
plane  ;  and  I  advise  all  amateurs  who 
contemplate  plane  buying  to  get  one. 
I  paid  a  good  price  for  it  (4s.  lid.),  on 
the  principle  that  if  you  want  a  good 
article  you  must  pay  for  it." 

"  Acme  "  Drill  Chuck. 
LiFiiTCiiiFPE. — If  you  write  to  Messrs. 
Buck  &  Hickman,  280,  Whitcchapel 
Road,  London,  they  will  probably  be 
able  to  supply  you  with  a  new  set  of 
jaws  for  your  "  Acme  "  chuck.  These 
chucks  are  made  to  gauge,  so  there 
ought  to  be  no  difficulty  in  getting 
duplicate  jaws. — J.  L.  D. 

Exercises  in  Woodworking. 

W.  S.  Cook.— This  book  is  published 
by  Messrs.  W.  Allen  &  Co. ;  the  price 
is  5s. 


572 


AMATEURS  IN  COUNCIL. 


Optical  Illusion. 
A.  S. — The  trick  which  mystifies 
you  is  an  exceedingly  simple  one,  and 
is  known  as  the  "  Thauma  Illusion."  It 
is  performed  thus :  The  body  of  the 
performer  —  generally  a  female  —  is 
made  to  recline  forward  in  a  support 
devised  for  the  purpose ;  on  the  swing 
seat  a  false  waist  is  fixed,  apparelled  in 
a  fashionable  bodice,  and  the  body  of 
the  performer,  leaning  forward,  rests 
upon  this  false  bodice,  which  fits  well 
up  under  the  armpits,  and  partially 
covers  the  bust.  The  rest  of  the  per- 
former's body  is  framed  round  with 
black  drapery,  which  you  have  noticed, 
and  which  thus  leaves  her  arms,  head, 
and  bust  to  be  seen  in  front,  whilst  the 
black  screen  conceals  her  body.  An 
artful  arrangement  of  the  lamps  at  front 
provides  that  their  light  is  chiefly  thrown 
toward  the  spectators,  and  completes 
the  illusion.  It  would,  therefore,  be 
rather  a  poser  if  any  person  were  to 
ask  the  exhibitor — when  he  is  osten- 
tatiously passing  a  sword  below  the 
seat  of  the  swing — to  convince  the 
audience  further  by  walking  round 
behind  the  figure. 

Transparent  SquareB  for  Drawing 
Purposes. 

J.  M.  writes: — "I  have  heard  of 
transparent  angles,  curves,  and  T 
squares,  as  used  by  draughtsmen  iu 
America,  and  the  notion  appears  to  me 
a  grand  one.  Oan  any  fellow  amateur 
give  information  whether  they  are  to 
be  procured  in  London, and  where?" 

Adapting  Parts  for  Overhead  Motion. 

F.  G.  Simpson. — From  actual  ex- 
perience I  cannot  give  a  sketch  of  an 
overhead  in  which  the  parts  shown  by 
Mr.  Simpson  cau  all  be  used.  It  would 
not  be  difficult  to  contrive  an  efficient 
overhead  in  which  most  of  them  might 
be  brought  in,  but  as  Mr.  Simpson  is 
so  hard  on  inventive  genius,  I  think  I 
had  better  desist. 

The  best  way  to  find  Mr.  Ashe's 
successors  would  probably  be  to  adver- 
tise in  Amateur  Work,  or  some  other 
mechanical  magazine  ;  but  as  there  is 
no  lack  of  eicellent  lathe-makers  in 
London,  I,  for  my  part,  would  get  any 
work  I  required  done  at  the  best  of 
them  whose  charges  I  could  afford  to 
pay,  and  not  spend  much  time  in 
seeking  out  a  maker  who  has  sunk  into 
oblivion. — J.  L.  D. 


Slide- rest. 

R.  Merkoney. — I  have  written  to 
Mr.  Merroney  privately,  but  lest  he 
should  expect  a  reply  in  "  Amateurs  in 
Council,"  I  beg  to  say  that  a  3J-inch 
centre  lathe  would  be  suitable  for  orna- 
mental turning,  but  there  should  be  no 
shake  in  the  mandrel.  In  other  re- 
spects it  may  be  untrue.  I  would 
recommend  a  divided  brass  plate  to  be 
placed  over  the  present  pulley,  as  J 
inch  would  be  very  narrow  to  contain 
more  than  one  row  of  holes.  The 
Britannia  Co.  sell  a  slide-rest  in  which 
the  long  slide  is  parallel  to  the  bed, 
called,  I  believe,  "  Brown's  Slide-rest," 
or  the  three-way  slide-rest,  which 
would  be  more  suitable  for  orna- 
mental turning  than  the  ordinary  sort. 
There  are,  of  course,  slide-rests  made 
for  ornamental  turning  only,  but  they 
are  generally  very  expensive. 

Your  queries  are  quite  plain,  and  it 
is  a  pleasure  to  me  to  answer  questions 
so  courteously  asked. — J.  L.  D. 

Cutting  and  Polishing  Pebbles. 
W.  S.  Cook. — At  most  seaside  resorts 
there  are  to  be  found  lapidaries  who 
ply  their  trade,  no  doubt,  to  their  own 
benefit,  and  especially  to  lighten  the 
pocket  of  the  visitor  who  is  desirous  of 
having  his  pebble  treasures  cut  and 
polished.  If,  however,  the  amateur 
wishes  to  do  that  himself,  the  operation 
is  simple,  and  the  main  quality  de- 
manded is  a  good  store  of  patience. 
It  consists  in  first  dressing  the  pebble 
into  shape  with  mallet  and  chisel  (here 
some  experience  is  necessary,  in  order 
to  know  with  a  little  certainty  what 
direction  the  fracture  will  take)  after 
which  the  pebble  is  subjected  to  per- 
sistent grinding  upon  a  wet  revolving 
stone.  Failing  a  revolving  stone,  a 
stationary  slab  of  sandstone  may  serve 
the  purpose,  but  will  entail  consider- 
ably more  labour  on  the  part  of  the 
operator.  If  the  pebble  to  be  worked 
upon  is  sufficiently  large,  it  may  be 
held  in  the  hand ;  but  a  small  pebble 
must  be  fixed  to  a  piece  of  wood  of 
convenient  Bhape,  by  means  of  a 
cement  composed  of  Burgundy  pitch, 
resin,  and  beeswax,  or  with  lapidary's 
cement  sold  for  the  purpose.  The 
finishing  is  effected  by  rubbing  the 
pebble  upon  Water  of  Ayr  stone  until, 
upon  drying,  no  scratches  appear  to  mar 
the  smooth  surface  you  are  seeking  to 
obtain. 


Model  Stationary  Engine. 
"Constant  Reader"  (Glasgow). — 
This  correspondent  wants  to  make  a 
model  stationary  engine  with  double 
action  cylinder,  and  with  boiler,  suit- 
able for  driving  a  model  screw  boat  or 
a  model  lathe,  and  he  will  be  greatly 
obliged  if  any  brother  amateur  will 
give  him  a  drawing  and  short  descrip- 
tion of  what  he  requires  through  the 
medium  of  "Amateurs  in  Council." 

Index  to  "  Amateur  Work." 
A.  B.  Keywortii  writes: — "I  have 
been  a  subscriber  to  your  valuable 
paper  from  its  commencement,  and  we 
are  now  in  the  middle  of  Vol.  XI.  I 
beg  to  make  a  suggestion,  which,  I 
think,  would  prove  a  boon  to  all  pos- 
sessing the  volumes.  It  would  be  a 
great  convenience  if  an  index  of,  say, 
the  first  ten  volumes,  was  published 
separately,  in  much  the  same  way  as  so 
many  other  journals  are  doing.  As 
matters  stand  at  present,  it  often 
(usually)  involves  hunting  through  so 
many  volumes  to  find  an  article,  for  it 
generally  happens  that  if  you  start  at 
Vol.  I.  the  article  in  question  will  be 
found  in  Vol.  X.,  and  vice  versd.  I 
should  think  such  an  index  might  be 
published  at  Is.  or  Is.  6d.,  and  no  one 
would  begrudge  such  a  trifle." 

[Your  suggestion  is  certainly  deserv- 
ing of  consideration,  and  there  ia  no 
question  about  the  usefulness  of  such 
an  index,  could  it  be  produced  without 
loss,  but  I  am  afraid  the  demand  for  it 
would  not  cover  cost ;  at  any  rate,  the 
demand  is  at  present  limited  to  three  or 
four ;  therefore,  not  by  any  means  large 
unough  to  warrant  the  venture. — Ed.] 

Hand  and  Foot  Threshing  Machine. 
J.  M. — From  the  illustration  you 
enclose  of  above,  I  should  imagine  that 
such  a  machine  as  it  represents  would 
be  a  great  acquisition  to  a  man  who  has 
small  crops  to  deal  with  ;  but,  of  course, 
I  am  unable  further  to  express  any 
opinion  as  to  its  capabilities.  Are  you 
acquainted  with  anybody  who  possesses 
one  ?  A  little  conversation  with  him  is 
better  calculated  to  afford  you  the  in- 
formation you  desire. 

LETTERS  RECEIVED  UP  TO  SEPT.  10. 
A.    C.    Watkins  ;  Violincellis  ;   P. 
Bennett  ;    Burnard  ;     Galvanic  ;     J. 
Crane  ;   J.  D.  A. ;  J.  S.  B. 


I 


Presented  with   "AMATEUR   WORK,   ILLUSTRATED,"   Part   XXXVI.     (New   Series.)     November.    1891. 


A  £)e&iqrv   for-  cu  I^erv  HcuJc 


WARD,    LOCK,    BOWDLN   &  CO.,    LONDON,    NEW   YORK,   AND    MELBOURNE. 


DETECTIVE    OR  HAND    CAMERAS. 


573 


DETECTIVE   OR  HAND  CAMERAS. 

By  ALFRED  A.  EARRISOX. 


N  writing  a  paper  on  the  above  subject, 
I  think  I  shall  best  meet  the  wants  of 
the  readers  of  Amateur  Woek  if  I 
describe  more  than  one  form  of  camera.  I 
purpose,  therefore,  giving  brief  details  of  a 
Tery  simple  form  of  box  camera,  easy  to  make, 


such  general  use  as  formerly,  and  in  small  towns 
dealers  do  not  always  stock  the  plates. 

I  think  it  will  be  advisable  not  to  give  exact 
details  of  length  measurement,  for  the  reason 
that  each  individual  lens  will  require  to  be 
accurately  adjusted  at  a  slightly  different 
distance  from  the  plate ;  and  as  this  distance 
must  be  the  first  thing  to  ascertain,  all  other 
measurements  must  be  worked  from  it.  I  am, 
of  course,  assuming  that  a  lens  working  at  a 


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FIC.4-.  A. 


but  not,  to  my  mind,  fulfilling  entirely  the 
requirements  of  an  all-round  camera.  I  shall 
then  describe  what  is  termed  a  magazine 
camera,  viz.,  containing  all  the  plates  at  the 
back  ;  and  also  one  for  use  with  double  backs  in 
the  ordinary  way. 

I  shall  adopt  the  name  "  hand  camera,"  that 
of  "  detective  "  being  more  or  less  a  misnomer. 

I  purpose  giving  details  for  cameras  of  half- 
plate  size,  anything  larger  than  this  being  hardly 
fit  for  the  work ;  5  by  4  is  a  very  nice  size,  but  one 
slight  objection  to  it  is  that  it  is  not  a  size  in 

VoL  III.  (New  Series).— Part  36- 


FIC.4. 


fixed  focus  is  to  be  used.  It  may  be  said  that 
there  is  no  such  thing  as  fixed  focus ;  and  this 
in  theory  is  correct,  although  in  practice  it  will 
be  found  that  a  good  R.R.  or  W.A.  of  modern 
make  can  be  adjusted  to  a  focus  that  will  give 
good  definition  at  very  considerably  varying 
distances  from  the  object  to  be  depicted. 

Lenses  are  now  made  called  fixed  focus  lenses  ; 
but  as  it  is  not  every  amateur  who  can  afford  to 
increase  his  stock  of  these  costly  adjuncts,  I 
shall  assume  that  whatever  lens  happens  to  be 
in  stock  is  to  be  used. 

vol.  ni.  (n.s.) — z  z 


574 


DETECTIVE    OR  HAND    CAMERAS. 


The  first  thing,  therefore,  to  do  is  to  set  up  in 
the  ordinary  camera  the  lens  that  is  to  be  used 
for  the  hand  camera ;  focus  this  on  a  view  with 
well-defined  objects  in  the  distance,  middle 
distance,  and  foreground,  and  having  obtained 
a  picture  on  the  ground-glass  screen  to  your 
liking,  introduce  a  figure  in  the  near  fore- 
ground, gradually  bringing  it  nearer  to  the  lens 
until  you  reach  the  point  when  it  is  no  longer 
in  perfect  focus  ;  put  the  figure  back  to  the  per- 
fect focus  point,  and  then  measure  the  distance 
from  it  to  the  lens,  and  make  a  note  of  it ;  this 
will  be  the  least  distance  that  ever  afterwards 
you  must  allow  between  the  nearest  object  you 
want  sharply  defined  and  your  hand  camera. 

This  being  done,  you  must  next  measure  to  a 
perfect  nicety  the  distance  between  the  centre 
of  the  back  glass  of  the  lens  and  the  inner 
surface  of  the  ground-glass  screen  ;  this  is  easily 
done  by  having  only  half  a  glass  in  the  screen, 
or  if  an  old  piece  of  ground-glass  is  not  avail- 
able, by  putting  half  a  plate  in  the  dark  slide, 
and  drawing  up  the  shutters.  Tou  can  then  pass 
the  rule  through  and  up  to  the  lens.  Note  the 
exact  distance  carefully. 

Next  procure  the  board  that  is  to  form  the 
bottom  board  of  the  camera  to  be  constructed  ; 
it  should  be  of  well-seasoned  wood,  J  inch  thick, 
planed  smooth  and  true,  and  cut  to  width,  but 
not  length.  The  width  for  half-plate,  if  \  inch 
stuff  is  used  throughout,  will  be  7\  inches.  The 
length  can  only  be  determined  by  the  lens  used ; 
for  a  W.A.  lens  of  h\  inches  focus,  and  for  a 
camera  like  Fig.  1  (in  this  stage),  the  base  board 
had  better  be  at  least  9  inches  long.  In  Fig.  1 
the  exposed  plate  is  at  the  extremity  of  the  base 
board ;  but  for  a  camera  like  Fig.  4,  there  will 
need  to  be  from  2^  to  4  inches  of  base  board 
behind  this  point,  according  to  the  number  of 
plates  it  is  desired  to  carry,  or  to  the  thickness 
of  the  dark  slides,  if  slides  are  to  be  used. 

On  the  prepared  base  board  mark  the  positions 
of  the  blocks,  a  a  (Figs.  1,3,  4,  and  4a)  ;  against 
these  blocks  or,  rather,  strips  of  wood,  the  film 
side  of  the  dry  plate  is  to  rest,  when  in  position 
ready  for  exposure ;  they  are,  in  fact,  the 
registers  against  which  the  plates  are  pressed 
by  means  of  a  spring,  or  otherwise,  as  will  be 
shown  later  on. 


Next  cut  the  board,  b,  that  is  to  carry  the 
lens,  and  for  the  half-plate  camera  before  men- 
tioned; it  will  be  6f  inches  wide,  and  5  inches 
high.  Attach  the  lens  to  it  exactly  as  it  is  to  be 
when  the  camera  is  complete.  Now  erect  this  in  a 
position  on  the  base  board  distant  from  the  plate 
at  a  a,  equal  to  the  distance  between  the  back 
of  the  lens  and  the  ground-glass  before  tested  ; 
mark  the  spot  accurately. 

The  sides  and  the  back  end  may  now  be 
prepared,  and  lightly  tacked  with  French  pins 
to  the  base  board.  The  back  end  must  be  at 
least  1  inch  higher  than  the  sides.  This  done, 
if  a  sheet  of  white  card  or  a  piece  of  fine  ground- 
glass  is  inserted  in  the  position  to  be  occupied 
by  the  dry  plate,  and  a  dark  cloth  thrown  over 
the  head,  looking  into  the  top  of  the  camera, 
the  accurate  register  of  the  focus  may  be  tested. 
If  this  is  all  right,  as  it  will  be  providing  the 
measurements  have  been  carefully  made,  the 
sides  and  back  may  be  first  glued,  and  then 
either  screwed  or  tacked  on  permanently,  and 
the  sliding  piece,  b,  carrying  the  lens,  can  be 
placed  in  position  by  means  of  narrow  strips  of 
wood  fixed  to  the  sides  of  the  camera,  forming 
grooves  in  which  it  will  slide.  If  preferred,  this 
panel  may  be  merely  screwed  or  tacked  in 
position  ;  but  if  this  is  done,  the  frame,  d,  for  the 
flap  shutter,  c,  should  first  be  prepared  and 
fixed  ;  it  will,  however,  for  many  reasons  be 
better  if  this  panel  is  made  to  slide  in  and  out. 
The  panel,  E,  is  a  repetition  of  b,  and  has  a 
circular  aperture  cut  in  it  to  exactly  fit  the  hood 
of  the  lens  ;  it  should  also  be  made  to  slide,  and 
it  will  be  as  well  if  it  is  attached  to  b  by  means 
of  blocks  of  cork ;  all  can  then  be  removed 
together,  if  required. 

The  end  of  the  camera,  f,  should  be  attached 
as  close  to  the  hood  of  the  lens  as  possible  ;  in 
fact,  if  an  outside  shutter  is  used,  it  may  be 
dispensed  with  entirely,  and  the  lens  hood, 
instead  of  protruding  through  e,  may  merely 
pass  into  it ;  but  in  that  case  it  should  not  be 
attached  by  the  cork  blocks  to  b,  but  be  fixed 
permanently  at  the  end  of  the  box.  If  a  shutter 
is  used  that  works  on  the  inside,  f  is  necessary, 
but  should  only  be  just  a  sufficient  distance 
from  the  lens  hood  to  allow  of  the  shutter 
working.  We  will  leave  the  question  of  shutters 


DETECTIVE   OR  HAND    CAMERAS. 


575 


for  a  time,  and  finish  the  box  part  of  the  camera 
by  putting  on  the  back  end ;  this  should  rise 
about  1  inch,  as  seen  at  a,  Fig.  3,  and  on  its 
inner  surface  it  should  have  a  stout  watch 
spring,  attached  so  as  to  keep  the  dry  plates  in 
correct  register  against  the  blocks,  a  a.  The 
same  result  may  be  obtained  by  means  of  a 
thumbscrew  passing  through  the  back,  and 
pressing  against  the  centre  of  the  plate. 

The  back  being  fixed,  a  small  piece  of  wood 
must  next  be  erected  across  the  top,  equal  in 
height  to  the  part  of  the  back  that  projects,  and 
slips  inserted  between  it  and  the  back,  like  b  in 
Fig.  3.  These  slips  of  wood  should  be  just 
sufficient  to  allow  a  dry  plate  to  slide  up  and 
down  easily,  and  no  more,  unless  it  is  intended 
to  use  the  dry  plates  in  pairs,  in  which  case  it 
must  be  a  shade  over  the  thickness  of  two  plates. 
(Note. — If  plates  are  used  in  pairs,  springs  at 
the  sides  must  be  substituted  for  the  spring,  or 
screw,  at  the  back.)  The  back  of  the  camera 
will  now  consist  of  an  oblong  tube,  one  side  of 
which,  viz.,  that  towards  the  lens,  is  open  within 
the  camera,  except  the  narrow  strips  at  the  sides, 
a  a,  required  to  hold  the  plate  in  position. 

The  top  of  the  camera  may  now  be  closed  in, 
either  by  screwing  a  board  or  boards  from  the 
tube  at  g  to  the  front  board  at  f,  or  parts  of  it 
may  be  screwed  down  permanently,  and  parts 
hinged  at  choice. 

Except  the  shutter  and  the  changing  ap- 
paratus, the  camera  is  complete,  and  should  at 
this  stage  be  carefully  examined  for  traces  of 
light  or  for  inaccuracy  in  the  position  of  the 
lens,  etc ;  it  should  also  be  thoroughly  blacked 
inside  with  a  dead  black,  or  it  may  be  lined  with 
black  cloth  or  velvet. 

The  contrivance  for  changing  the  plates  con- 
sists merely  of  a  bag  made  of  three  thicknesses 
of  finely  woven  black  silesia,  which  fits  over  the 
raised  end,  g,  Fig.  3,  and  is  fixed  there  by  means 
of  tape  tieor  stiff  elastic  throughout  the  exposure. 
This  bag  acts  as  a  holder  for  the  plate,  and 
should  be  some  few  iuches  longer  than  the  plate 
it  contains,  so  as  to  allow  it  to  be  folded  back 
while  fixing  or  removing,  and  to  keep  all  light- 
tight  when  removed.  Of  course,  it  goes  without 
saying  that  the  bag  plate-holder  is  fitted  on  to 
the  tube  at  g,  and  the  plate  allowed  to  slide  into 


position ;  and  after  exposure,  the  camera  is 
tipped  up,  and  the  action  reversed.  Some  prefer 
to  have  every  plate  in  a  separate  bag,  others 
use  two  of  these  bags  and  an  ordinary  changing 
bag,  thus  recharging  their  bag  slides  from  the 
main  stock  after  every  two  exposures ;  others, 
again,  place  two  dry  plates  back  to  back,  with  a 
piece  of  thin  black  tissue  between,  and  fixing 
them  together  by  means  of  gummed  paper  at  the 
corners,  like  a  lantern  slide.  Two  exposures  can 
be  made  from  one  bag,  by  merely  sliding  out  and 
reversing  the  bag  after  exposure. 

A  camera  within  which  the  sensitive  plate  is 
always  exposed,  as  in  the  kind  we  are  con- 
sidering, requires  either  that  the  exposure 
shutter  shall  not  require  setting,  or  else  that 
there  shall  be  a  second  shutter  to  screen  the 
plate  from  light,  passing  through  the  lens 
during  the  operation  of  setting  the  shutter.  A 
simple  shutter  that  is  always  closed,  and  yet 
always  ready  for  exposure,  is  one  in  which  two 
small  sheets  of  ebonite,  or  other  material,  alter- 
nately rise  and  fall  before  the  aperture  of  the 
lens,  by  pulling  one  or  the  other  of  two  strings. 
This  is  known  as  Places'  shutter,  and  it  can  be 
worked  quite  quick  enough  for  all  ordinary  hand 
exposures,  or  it  may  be  worked  slowly,  or  left 
entirely  open  for  a  time  exposure.  If  a  form  of 
shutter  is  used  that  requires  setting,  the  back  of 
the  lens  must  be  closed  by  a  flap,  as  c,  Fig.  2. 
This  flap  is  attached  to  a  metal  spindle,  which 
passes  through  the  side  of  the  camera,  and 
terminates  with  a  milled  or  winged  head,  for 
the  convenience  of  opening  or  closing  against 
the  lens.  No  particular  instructions  for  making 
are  needed,  as  the  sketch  speaks  for  itself ; 
it  fits  accurately  into  the  little  frame,  d  d, 
and  is  better  if  considerably  larger  than  the 
lens;  it  should  be  covered  with  black  cloth  or 
velvet  on  the  side  nearest  to  the  lens,  and  is 
better  if  the  surface  it  shuts  against  is  also 
covered  with  the  same  material.  The  same  end 
is  obtained  if  the  shutter  works  within  the 
camera  by  using  a  light-tight  cap  or  plug  on 
the  camera  front. 

We  next  have  to  consider  a  form  of  camera 
that  will  permit  a  sight  of  the  image  exactly  as 
it  will  appear  on  the  sensitive  plate;  this  is 
attained  by  using   dark  slides,  the  number  of 


576 


DETECTIVE   OR  HAND    CAMERAS. 


slides  being  left  entirely  at  the  will  of  the 
manufacturer  of  the  camera.  The  camera  is 
constructed  exactly  in  the  way  previously  de- 
scribed, except  that  the  top  is  quite  level,  viz., 
the  tube  g  (Fig.  3)  is  done  away  with,  and 
instead  of  the  space  between  these  blocks  and 
the  back  being  only  sufficient  to  receive  one  dry 
plate,  the  base  board  is  lengthened  to  admit  a 
focussing  screen,  and  as  many  double  dark  slides 
as  may  be  desired.  The  foremost  of  these  dark 
slides  must  have  the  plate  in  accurate  register 
against  the  blocks  a  a  (Figs.  1  and  3),  and  must 
slide  in  a  groove  in  exactly  the  same  way  as  do 
the  dark  slides  of  ordinary  cameras.  For  the 
reserve  backs  and  the  glass  screen  there  need 
not  be  separate  grooves,  providing  they  fit  easily 
behind  without  undue  rocking.  The  top  of  the 
camera  must,  of  course,  be  permanently  closed 
from  the  front,  f,  to  the  blocks,  a  ;  in  other 
words,  the  camera  differs  only  from  an  ordinary 
one  in  having  no  bellows,  and  containing  the 
lens  within  itself.  Behind  the  blocks,  a,  the  top 
of  the  box  opens  with  a  hinge,  to  permit  of  the 
removal  of  the  slides,  or  the  drawing-up  of  the 
shutter.  In  the  centre  of  the  back  of  the 
camera,  o,  an  aperture  with  a  sliding  shutter, 
about  3  inches  long  and  2  inches  deep,  is  made ; 
and  when  it  is  considered  necessary  to  examine 
the  image  on  the  ground-glass,  the  dark  slides  are 
removed,  the  ground-glass  is  placed  in  position, 
the  top  closed  down,  and  the  slide  in  the  back 
opened,  through  which  the  image  will  be  seen, 
without  it  being  necessary  to  use  a  dark  cloth. 
The  space  that  holds  the  dark  slides  and  screen 
should,  of  course,  be  blacked  inside,  like  the 
interior  of  the  camera  proper.  The  form  of 
dark  slide  best  adapted  for  this  kind  of  camera 
is  that  with  the  leather  slip  for  the  withdrawal 
of  the  shutter,  which  has  no  projections  what- 
ever, and  therefore  fits  closer. 

The  third  form  of  camera,  better  known  as  the 
magazine  camera,  is  a  combination  of  the  two 
preceding  ones.  It  needs  to  be  of  greater  length 
behind  the  exposure  points,  a  a,  than  Fig.  1,  but 
not  so  long  as  that  last  described  for  use  with  dark 
slides.  It  is  not  possible  to  use  a  focussing  screen 
with  it,  therefore  no  aperture  is  needed  in  the 
back,  but  the  back  must  be  so  contrived  that  it 
can  be  entirely  removed,  or  opened  with  a  hinge. 


The  space  at  the  top,  between  the  back,  g,  and 
the  blocks,  a  a,  instead  of  being  enclosed  with 
wood,  is  covered  by  a  bag  of  some  light-tight, 
yet  sufficiently  pliable  material,  and  this  bag 
must  be  of  sufficient  depth  to  receive  the  size 
plate  that  is  being  used;  a  reference  to  k 
(Fig.  4a),  will  make  this  clear.  Fig  4a  repre- 
sents a  side  view  of  that  part  of  the  magazine 
camera  behind  the  exposure  blocks,  a  a,  all  in 
front  being  the  same  as  Figs.  1  and  3.  Fig.  4 
is  the  same  part  of  the  camera,  with  the  top  or 
bag,  k,  removed,  m  is  the  space  for  unexposed 
plates  ;  h  for  exposed,  s  is  a  movable  wooden 
partition,  which  separates  the  exposed  from  the 
unexposed,  and,  by  means  of  the  spring  attached 
to  it,  keeps  the  foremost  plates  in  register,  pis 
a  small  lever,  attached  by  a  brass  rod  (dotted 
line)  to  the  milled  head,  o,  outside  the  camera ;. 
this  brass  rod  works  under  a  false  bottom,  on. 
which  the  bottom  edges  of  the  plates  rest, 
and  the  lever  is  in  exact  register  with  the 
bottom  edge  of  the  plate  being  exposed ;  when 
the  exposure  has  been  made,  and  it  is  required 
to  change  the  plate,  the  milled  head  is  turned, 
and  the  lever  raises  the  plate  sufficiently  for 
it  to  be  grasped  through  the  bag,  k,  by  the 
finger  and  thumb,  and  inserted  in  the  back 
compartment,  n,  the  next  plate  forcing  itself 
into  position.  If  any  difficulty  is  experienced 
in  passing  the  plate  to  n,  a  slight  tilt  of  the 
camera  will  make  the  desired  space. 

The  sensitive  plates  for  this  class  of  camera 
must  be  either  backed  and  edged  with  black 
paper,  or,  what  is  far  better,  protected  by  thin 
metal  sheaves ;  these  sheaves  are  merely  thin 
sheets  of  tin,  with  the  edges  turned  over  to 
grasp  the  plate ;  they  are  so  cheaply  procured 
at  photographic  stores  as  to  be  hardly  worth 
making.  If  films  are  to  be  used  in  this 
form  of  camera  instead  of  glass,  it  will  be  easy 
to  make  the  sheaves  out  of  thin  millboard  ;  but 
the  sort  used  should  be  a  kind  that  is  very  close 
in  texture,  and  stiff,  although  thin. 

The  insertion  or  removal  of  a  batch  of  plates 
or  films  is  best  performed  by  having  the  back, 
g,  removable,  or  else  hinged ;  but  in  some 
cameras  of  this  form,  the  back  is  a  fixture,  and. 
the  bag,  k,  is  attached  to  a  frame  which  can,  by 
the  loosing  of  screws,  be  removed. 


A   HANDY  EASEL   FOR    COPYING    WITH  THE    CAMERA. 


577 


A  HANDY  EASEL  FOR  COPYING 
WITH  THE  CAMERA. 

By  F.  S.  MORTON. 


3§  EARLY  every  amateur  photographer 
does  more  or  less  copying  at  times 
(except,  perhaps,  the  "You  push  the 
button  and  we  do  the  rest  "  amateur),  and  often 
labours  under  great  disadvantages  by  lack  of 
the  suitable  apparatus.  Some  do  not  do  enough 
to  pay  for  special  appliances,  but  there  are 
others  who  do ;  and  it  is  to  this  class  I  submit  a 
description  of  a  home-made  easel  that  can  be 
used  for  this  work,  and  also  for  similar  work, 
and  when  not  in  use  can  be  folded  into  small 
compass,  and  stowed  away  in  the  corner.  With 
an  easel,  copying  is  rendered  much  easier, 
especially  if  the  work  is  done  at  home  in  an 
ordinary  room,  where  light  varies  very  much  in 
different  parts  of  it.  To  be  sure,  the  side  of  the 
room  may  be  utilised  to  hold  the  picture,  using 
a  pin  to  hold  it  in  place  ;  but  all  who  have  tried 
it,  know  how  difficult  it  is  to  find  a  spot  on  the 
wall  of  an  ordinarily  lighted  room  where  the 
light  is  satisfactory  for  copying.  It  may  look 
all  right,  but  when  the  plate  is  developed,  the 
negative  will  be  denser  on  one  side  than  the 
other,  even  when  the  best  care  is  taken,  unless 
the  light  comes  to  both  sides  of  the  object  to  be 
copied  alike.  But  the  easel  can  be  readily 
moved  to  suit  the  varying  changes  in  the  light ; 
and  the  amateur  who  possesses  one,  will  no  longer 
be  tied  to  the  wall.  It  is  useful  in  various  other 
ways  that  those  who  photograph  will  at  once 
see,  and  no  better  arrangement  need  be  used  to 
pin  bromide  paper  to  in  enlarging. 

The  easel  should  be  made  of  light  wood,  so  as 
to  be  easily  handled;  any  soft  wood  will  do, 
and  the  amount  needed  will  be  one  piece  9  feet 
long  by  2  inches  square;  one  board,  18  by  20 
inches,  or  any  other  size  decided  on  for  the 
copying-board  ;  three  pieces  of  ^-inch  stuff,  not 
less  than  Z\  feet  long  and  2  inches  wide ;  and  a 
strip  of  thin  hard  wood,  1  inch  wide  and  about 
2  feet  long.  The  rest  needed  can  be  picked  up 
from  any  odds  and  ends. 

First  saw  off  a  piece  of  the  2  inches  square 
jpiece,  6  feet  long,  for  the  upright ;  and  another, 


2  feet  long,  for  the  foot  piece.  Mortise  the  long 
piece  into  the  short  one,  as  shown  in  Fig.  1,  and 
cut  short  braces  out  of  the  remains  of  the  long 
piece,  and  screw  in  place.  If  one  does  not  care 
to  make  a  mortise,  long  screws  can  be  used  to 
fasten  the  cross-piece  to  the  upright,  and  the 
braces  will  hold  it  firm  enough.  Take  two 
pieces  of  i-inch  stuff,  2  inches  wide  and  3i  feet 


FIG.  I. -EASEL  COMPLETE.   FIG.  2.— SIDE  VIEW  OF  EASEL. 
FIG.  3.— BOTTOM  OF  EASEL  SHOWING  LEGS  FOLDED  BACK. 

long ;  cut  off  6  inches  from  each  piece,  and 
attach  it  to  the  piece  again  by  means  of  hinges, 
placed  so  as  to  allow  the  two  pieces  to  fold  back 
against  each  other.  Prop  the  upright  perfectly 
straight,  and  then  fasten  these  strips  to  it,  to  act 
as  braces,  at  right  angles  with  the  short  ones  ; 
fasten  by  screwing  the  short  piece  to  the 
upright,  with  the  hinges  outside,  so  that,  when 
in  use,  the  long  piece  will  turn  down,  and  act 
as  a  brace,  and  will  fold  up  against  the  upright 
when  not  in  use.  Fig.  2  will  show  how  these 
I  go  on.     The  hard  wood  pieces  are  cut  1  foot  long, 


578 


NOTES   ON  SOLDERING. 


a  hole  bored  in  one  end,  and  a  notch  cut  in  the 
other,  and  are  then  screwed  to  the  upright,  so 
that  when  the  braces  are  down,  the  notch  will 
fit  over  a  screw  placed  in  them,  and  will  hold 
them  fast.  A  double  button,  also  fixed  to  the 
upright,  will  shut  over  these  screws  when  the 
braces  are  folded  up,  and  will  keep  them  from 
dropping  down.  Pig.  3  shows  the  lower  parts 
folded  up  for  stowing  away. 

The  copying-board  has  a  ledge,  1|  or  2  inches 
wide,  on  the  bottom,  with  small  thin  pieces  put 


FIG.  4. — PIECE  TO  GO  OVER  END  OF  CARRIAGE.  FIG.  5-  — 
SECTIONAL  VIEW  OF  COPYING  BOARD  AND  SLIDING 
CARRIAGE.  FIG.  6.— METHOD  OF  BENDING  WIRES  FOR 
HOLDING  COPY. 

on  over  the  ends  to  brace  it ;  this  is  for  holding 
books  when  anything  is  to  be  copied  from  them, 
and  two  buttons,  screwed  on  the  front  of  the 
shelf,  will  keep  them  in  place.  A  piece  similar 
in  size  to  the  shelf  should  be  put  on  at  the  top 
for  ornament.  Now  cut  a  strip  of  wood,  1  inch 
square,  and  as  long  as  the  copying-board  is 
wide,  and  bore  small  holes,  the  size  of  which 
will  be  seen  later  on,  1  inch  or  so  apart,  along 
its  whole  length.  Cut  two  pieces,  like  Fig.  5, 
and  fasten  one  to  each  end  of  the  strip,  which 
is  shown  at  a  in  the  figure  by  the  dotted 
lines ;  these  pieces,  when  the  strip  is  held 
against  the  front  board,  should  extend  }  inch 
back  from  it,  to  allow  of  a  narrow  strip  being 
screwed  or  glued  to  it,  to  hold  it  in  place.  A 
sectional  view  of  this  arrangement,  when  it  is  in 
place,  is  shown  at  Fig.  4,  a  being  the  strip  with 
hole3  iu  it,  and  B  the  copying-board.  This  part 
forms  a  sort  of  carriage,  and  should  fit  close,  but 
not  so  close  but  that  it  will  slida  up  and  down. 


If  it  moves  too  easily,  holes  can  be  made  at 
intervals  along  the  edges  of  the  board,  and  a 
corresponding  hole  in  each  side  piece  ;  a  small 
brass  pin  will  then  hold  it  at  any  of  the  holes 
at  different  heights.  Now  take  some  brass  or 
steel  wire,  about  No.  10  or  12  B.W.G.,  and 
form  a  coil  of  two  or  three  turns,  1  inch  from 
one  end ;  bend  the  other  end  down,  as  shown  in 
Fig.  6,  and  turn  up  the  ends,  and  smooth  them 
off ;  make  two  of  these,  and  the  holes  in  the 
strip  previously  mentioned  must  be  made  so 
that  the  short  end  of  these  wires  will  fit  closely 
in  them.  The  use  of  these  wires  will  be  seen  in 
Fig.  1  ;  the}'  are  to  hold  the  picture  or  drawing 
to  be  copied  in  place,  and  can  be  moved  up  and 
down  the  board  by  means  of  the  carriage  holding 
them,  and  at  different  widths,  by  using  different 
holes  in  it.  If  the  paper  to  be  copied  is  too 
flimsy,  thin  strips  of  wood  can  be  used  under 
the  wires. 

Now  all  that  remains  to  complete  the  easel  is 
to  make  a  small  three-sided  box,  just  large 
enough  to  enclose  the  upright,  and  with  a 
common  iron  or  wood  thumbscrew  on  one  side  ; 
fasten  this  to  the  back  of  the  copying-board, 
and  by  means  of  the  thumbscrew  it  can  be 
raised  or  lowered  on  the  uprights,  as  wished. 
Fig.  5  shows  this  box,  c  being  the  upright.  A 
good  coat  of  shellac  or  varnish  should  be  put  on 
now,  to  keep  it  clean,  and  to  keep  the  moisture 
from  warping  and  twisting  it ;  or  a  coat  of  paint 
may  be  put  on,  if  the  timber  used  is  not  new. 


NOTES  ON  SOLDERING. 

By  A  PRACTICAL  TIN-PLATE  WORKER. 


HERE  are  very  few  amateurs  but  at 
some  time  or  other  require  to  do  a 
little  soldering,  and  from  the  various 
queries  that  I  have  received  from  time  to  time, 
I  have  noticed  that  many  experience  difficulty 
in  making  a  satisfactory  job.  In  the  following 
notes  I  will  try  and  solve  these  difficulties,  and 
endeavour  to  give  my  fellow  readers  such  clear 
and  concise  directions  that  no  one  need  despair 
of  turning  out  good  work,  both  as  regards 
strength  and  appearance. 


NOTES   ON  SOLDERING. 


579 


Tools  and  Materials  required. — These  are  neither 
man}-,  nor  are  they  expensive,  though  I  certainly 
cannot  come  within  the  limits  of  the  catchpenny 
advertisements  of  a  complete  set  of  soldering 
tools  and  materials  for  Is.  I  must  warn  my 
readers  that  it  is  hopeless  to  expect  to  do  any 
real  work  with  these  toys,  for  they  are  nothing 
else.  A  good  soldering-iron  or  copper-bit  shall 
be  our  first  consideration  ;  the  great  fault  with 
amateurs  is  that  they  get  too  small  a  one  for 
general  purposes.  I  recommend  two  irons  of 
the  shape  shown  (Figs.  1  and  2) ;  Fig.  1,  for 
fine  work,  to  have  from  14  to  18  ozs.  of  copper 


screwed  into  it,  or  the  shank  can  be  "  upset "  a 
little  larger  at  the  end,  the  hole  in  the  copper 
drilled  sufficiently  large  to  allow  it  to  enter 
(about  1  \  inches  in  depth) ;  drive  the  shank  in, 
grip  the  copper  in  the  vice,  and  "set"  it  close 
to  the  shank  with  a  punch  and  hammer ;  the 
copper  bit  can  then  be  forged  to  shape,  and  the 
shank  drawn  down  to  a  point,  and  put  into  the 
handle.  The  handle  should  be  of  a  good  size ; 
that  is,  it  should  be  so  large  that  the  hand  will 
not  be  cramped  by  holding  it.  The  file  handles 
usually  stuck  on  soldering-bits  are  no  use ;  they 
are  neither  large  enough,  nor  of  the  right  shape. 


no  3  A 


FIG. 5 


FIG.3.B 


in  it ;  and  Fig.  2,  to  have  about  24  ozs.  Notice 
the  difference  in  shape :  Fig.  1  is  drawn  down 
square  to  a  point;  Fig.  2  is  wedge-shaped, 
capable  of  taking  up  more  solder,  retaining  heat 
longer,  and  imparting  it  quicker  to  the  surface 
to  be  soldered.  It  will  also  be  seen  that  the 
iron  shanks  are  fixed  differently  to  those  sold  in 
shops.  I  show  this  method  as  being  best  for 
the  amateur,  because  the  soldering-iron  can  be 
used  for  a  much  longer  time  than  shop-made^ 
ones,  as  in  those  a  great  part  of  the  copper  is 
wasted  in  the  iron  shank ;  but  in  the  ones 
illustrated,  it  is  used  up  to  the  last  bit,  a 
consideration  for  those  with  limited  means. 
Another  advantage  is  that  they  are  easier  for 
the  amateur  to  make  himself,  as  follows: — 
Take  the  pieces  of  copper,  and  drill  a  f  hole  in 
the  end,  which  can  be  tapped,  and  then  the  shank 


DESCRIPTION  OF  FIGURES. 

FIG.  I. — POINTED  SOLDERING-IRON. 

FIG.  2. — BROAD  ENDED   SOLDERING-IRON. 

FIG.  3A.— RESIN  BOXES. 

FIG.  4. — PLUMBER'S   SHAVE-HOOK. 

FIG.  5. — METHOD    OF    JOINING    TWO    FLAT    PIECES  OF 

METAL. 
FIG.  6. — METHOD  OF  JOINING  TWO    PIECES  OF  TUBE. 


Any  turner  will  turn  you  up  some  of  the  shape 
illustrated ;  the  shanks  should  come  right  through 
the  handle,  and  be  rivetted  or  clenched  on  the 
end ;  it  then  helps  to  balance  the  weight  of  the 
copper  at  the  other  end,  and  is  not  likely  to  come 
out,  which  they  are  sure  to  do  if  only  stuck  in. 

Solder. — The  next  thing  to  consider  is  the 
solder.  This  is  an  alloy  of  tin  and  lead,  in 
varying  proportions  according  to  the  work  it  is 
required  for.  A  useful  solder  for  rough  work, 
and  where  a  quantity  is  required,  is  made  by 
melting,  in  an  iron  pot  or  ladle,  5  lbs.  of  clean 
lead,  and  adding  8  lbs.  of  block  or  ingot  tin. 
(N.B. — In  making  solder,  never  put  in  any  old 
gas-pipes,  spoons,  or  zinc,  and  do  not  let  the 
metal  get  red-hot,  or  you  will  certainly  spoil  it ; 
run  it  out  in  strips  in  a  piece  of  angle  iron.) 
For  a  fine  solder  suitable  for  general  purposes, 


580 


NOTES   ON  SOLDERING. 


use  4  lbs.  of  tin  to  2  lbs.  of  lead ;  this  is  best 
tinman's  solder;  of  course,  for  very  small 
quantities,  ounces  may  be  taken  instead  of 
pounds. 

Fluxes. — The  third  principal  item  in  the  list  of 
requirements  is  a  suitable  flux  ;  that  is,  a  sub- 
stance that  will  assist  the  metal  in  flowing  from 
the  iron  to  the  surface  of  the  metal,  and  which 
will  also  cause  it  to  adhere  more  closely.     Of 
these  there  are  several,  both  liquid  and  solid. 
The  most  useful  of  them  all  is  that  known  to 
most  people  as  "spirits  of  salts,"  its  chemical 
designation  being  hydrochloric  acid ;  this  is  a 
strongly  corrosive  acid  in  its  pure  state  when 
purchased,  and  must  be  carefully  handled,  as  if 
any  is  spilt  on  clothes  or'  hands,  it  will  burn 
them.      When    absolutely    pure,    it    is   almost 
colourless,  but  it  can  seldom  be  bought  in  that 
condition  at  the  chemists,  as  on  exposure  to  the 
air  it  turns  yellow ;  for  the  purpose  we  require 
it,   however,    it   is   pure    enough.      Purchased 
wholesale,  it  costs  about  1  Jd.  or  2d.  per  lb.,  but 
chemists  usually  charge  4d.  to  6d.  per  lb.,  which, 
considering  the  trouble  and  risk  of  keeping  it, 
is  not  exorbitant.  In  its  pure  state  as  purchased, 
it  is  called  in  the  trade  "raw"  spirits,  and  I 
shall  use  this  term  when  speaking  of  it.     Raw 
spirits  is  only  used  to  solder  zinc  and  galvanised 
iron.      For   soldering    tin,   copper,   brass,    and 
wrought  iron,  it  has  to  be  "killed"  (another 
technical    or   trade   term),    which   is    done    as 
follows:  —  Take   a   good-sized  jam    jar   (not 
glass),  and  pour  into  it  \  pint  of  raw  spirits; 
cut  up  some  zinc  in  small  pieces — 3  or  4  ozs. 
will  suffice — and  throw  it  into  the  jar  of  spirits 
a  little  at  a  time  ;  do  not  throw  all  in  at  once,  or 
you  will  see  your  spirits  rapidly  disappearing 
over  the  sides  of  the  jar,  as  the  zinc  liberates 
a  quantity  of  gas,  and  causes  the  fluid  to  boil 
over.      "When   the   boiling    and    effervescence 
have  subsided,  which  will  be   in  about  half  an 
hour,  the  spirits  will  be  "  killed."     Put  a  few 
more  pieces  of  zinc  in,  and  watch  if  any  effer- 
vescence takes  place ;  if  so,  it  requires  a  little 
more  zinc  added;  if  not,  it  is  "killed"  suffi- 
ciently.    It  is,  however,  still  too  strong  for  our 
purposes,  so  may  be  still  further  weakened  by 
the  addition  of  water ;  some  add  as  much  water 
as  there  remains  spirits,  and  this  is  a  very  good 


rule  where  only  tin-work  is  to  be  soldered,  but  for 
general  work  and  jobbing  I  prefer  to  add  half 
as  much  water  as  there  is  "  spirits"  remaining 
after  it  is  "  killed." 

Baker's  Preparation  for  Tinning  and  Soldering. — 
This  is  a  very  useful  flux ;  it  is  a  special  pre- 
paration, and  not  knowing  what  it  is  composed 
of,  I  will  not  pretend  to  say  ;  it  may  be  used 
for  all  kinds  of  soldering,  but  is  certainly  in- 
ferior to  raw  spirits  for  soldering  zinc  or 
galvanised  iron. 

Eesin. — This  is  a  most  useful  substance,  and 
was  formerly  the  only  flux  known  for  soldering. 
Crushed  to  a  fine  powder,  it  is  used  either  by 
itself  or  mixed  with  oil  or  grease,  to  solder 
tin-work,  lead,  or  composition  pipe,  pewter,  and 
other  soft  metals  and  alloys.  There  are  two 
kinds — black  and  white,  so-called,  though  they 
are  not,  strictly  speaking,  those  colours,  the 
black  being  a  very  dark  brown,  and  the  white  a 
yellow  colour.  The  black  variety  is  equally  as 
good  as  the  white,  and  somewhat  cheaper. 

Tallow. — This  substance  can  be  used  by  itself 
as  a  flux  when  soldering  lead ;  also  in  wiping 
plumbers'  joints. 

OH. — This  is  also  made  use  of  by  the 
pewterers  for  soldering  their  counters,  beer- 
engines,  etc.  The  kind  mostly  used  is  that 
known  as  GaUipoli ;  it  is  a  kind  of  olive  oil,  of 
a  greenish  colour  and  strong  smell. 

The  reader  will  now  be  able  to  see  clearly  what 

kind  of  flux  is  most  suitable  for  the  kind  of  metal 

to  be  operated  on.     I  have  gone  fully  into  this 

matter  because,  from  many  inquiries  I  receive,  I 

find  that  much  of  the  cause  of  the  complaint  of 

non-success  lies  in  not  using  a  proper  flux.     It 

happens  very  often  in  this  way : — A  would-be 

amateur    "  solderer,"  if  I   may  use  the  term, 

asks  a  friend  what  is  the  "  stuff  "  they  use  for 

soldering  with,  and  gets  the  reply,  "  Oh,  spirits 

of  salts."     He  goes  forthwith   to   the  nearest 

chemist's,  and  buys  his  pennyworth  of  spirits  of 

salts,  asking  at  the  same  time,  "  Is  this  what 

they  use  for  soldering  ?  "  and  receives  the  reply, 

"  0,  yes,  this  is  quite  right"  ;  and  off  he  goes, 

feeling  certain,  after  this  double  assurance,  that 

he  is  on  the  right  track.     Perhaps  he  wants  to 

solder  a  piece  of  lead  pipe  or  a  tin  article,  and 

finds,  on  applying  a  brushful,   that  it  leaves  a 


NOTES   ON  SOLDERING. 


581 


"black  maik  wherever  it  goes  on  the  work,  and 
instead  of  helping  the  solder  to  flow,  coats  the 
work  with  a  film  that  prevents  the  solder  from 
adhering ;  half  chokes  him  with  the  fumes, 
and  compels  him  to  give  up  the  job  in  despair, 
not  unmingled  with  disgust.  Another  individual, 
on  asking  the  same  question  from  a  friend,  gets 
the  reply,  "0,  resin  of  course."  He,  perhaps, 
wants  to  solder  some  sheet -iron  or  zinc,  and  the 
result  in  his  case  is  equally  disappointing. 

""Killed"  spirits  of  salts  maybe  kept  in  a 
gallipot  or  jam  jar  on  the  bench  ready  for  use, 
but  raw  spirits  should  be  kept  in  a  well-corked 
or  stoppered  bottle,  and  only  a  little  drop  taken 
out,  sufficient  for  the  job  in  hand,  as  it  throws 
off  fumes  that  rust  all  iron  or  steel  things  that 
they  come  in  contact  with,  and  tarnishes  any 
kind  of  metal.  In  applying  these  fluids  to  the 
work,  it  should  be  done  with  a  small  brush,  and 
it  should  be  but  sparingly  applied,  not  so  as  to 
run  all  about  the  work.  Kesin  is  generally  kept 
in  a  little  tin  box  or  canister,  on  the  cover  of 
which  is  soldered  a  small  spout,  through  which 
the  powder  can  be  shook  on  to  the  work  (see 
Fig.  3,  a  and  b). 

The  only  other  requirements  for  soldering 
are  a  lump  of  sal-ammoniac  or  chloride  of  am- 
monium, a  10-inch  file,  a  scraping  knife  or  two, 
and  as  a  useful,  though  not  necessary  article,  a 
burnisher  might  be  added.  The  file  just  alluded 
to  had  best  be  a  half-round  one ;  the  scraping- 
knife,  a  pocket-knife,  or  an  old  razor  fixed  in  a 
handle;  a  plumber's  shave-hook  (Fig.  4)  is 
necessary  for  lead  work. 

I  have  not  gone  into  the  question  of  fires  for 
heating  the  irons,  as  I  presume  most  amateurs 
utilise  the  kitchen  fire;  suitable  gas-stoves,  how- 
ever, can  be  had  by  those  who  prefer  that  mode, 
and  have  the  convenience  of  gas,  from  Fletcher 
and  Co.,  Thynne  Street,  Warrington.  I  believe 
a  small  stove,  suitable  for  two  irons,  such  as  I 
have  described,  can  be  had  for  4s.  or4s.  6d.  I  am 
using  one  daily,  and  find  it  answer  admirably  and 
more  economically  than  a  coal  or  charcoal  stove. 

These  remarks  bring  us  to  the  point  of 
actual  use  of  the  soldering  -  iron.  The  first 
thing  to  do  is  to  "  tin  "  its  faces  ;  to  do  this,  it 
must  be  made  nearly  red-hot,  and  held  in  a  vice 
or    somewhere  where   it   can  be   filed  without 


shifting  about ;  the  faces  are  then  filed  smooth 
and  bright.  If  this  operation  is  done  quickly, 
there  will  be  sufficient  heat  left  in  it  for  the  next 
operation — that  is,  rub  it  well  on  a  lump  of 
sal-ammoniac  with  a  little  solder ;  it  ought  to 
be  hot  enough  to  make  the  sal-ammoniac  fizzy 
and  smoke  ;  on  removing  it,  and  dipping  it  in 
the  pot  of  spirits,  it  will  be  found  to  have  a  clean, 
bright,  silvery  surface,  and  is  now  in  the  proper 
condition  to  do  good  work  ;  and  it  should  always 
be  kept  as  near  up  to  that  mark  as  possible. 
Metals  to  be  soldered  must  be  clean  and  bright, 
free  from  grease  and  all  foreign  substances.  It 
is  on  this  point  that  a  great  many  people  fail ; 
they  cannot  be  brought  to  understand  why  it  is 
necessary  to  make  so  much  fuss  about  cleaning 
and  scraping,  as  a  tinsmith  does  when  someone 
brings  him  a  sooty  kettle  with  a  hole  in  the 
bottom,  and  requests  him  to  "  stick  a  lump  of 
solder"  on  it;  but  nevertheless  it  is  a  fact  that 
I  always  insist  upon  in  teaching  and  in  practice  — 
that  parts  to  be  united  with  solder  cannot  be  too 
carefully  prepared.  Of  course,  with  new  tin 
this  preparation  is  uncalled  for,  as  it  is  in  good 
condition  for  soldering ;  but  take,  for  example, 
that  two  pieces  of  sheet  copper  have  to  be 
soldered  together.  Now,  copper  and  brass  are 
two  metals  that  take  most  kindly  to  soldering, 
but  even  when  new  they  require  a  certain 
amount  of  preparation.  The  sketch,  Fig.  5, 
will  explain  clearly  how  to  do  this.  On  the 
piece,  a,  make  a  line  f  from  the  edge,  or  under, 
if  a  wide  lap  (as  the  seam  in  this  case  is  called) 
is  required ;  scrape  this  bright  with  the  knife 
or  shave-hook,  or  rub  with  emery  cloth  ;  do  this 
both  sides  of  this  piece ;  the  shaded  part  shows 
this  on  one  side.  Now  clean  the  piece,  b,  on  one 
side  only;  then  "tin"  the  clean  parts  as 
follows  : — Take  a  small  brush  (one  of  those  sold 
at  Id.,  for  gum,  etc.,  will  answer  nicely),  and  dip 
it  in  your  jar  of  weak  spirits,  and  apply  it  to  the 
cleaned  parts ;  let  the  soldering-iron  be  of  such 
a  heat  that  when  held  about  2  inches  from  the 
face,  you  feel  a  quick  glow  from  it.  A  soldering- 
iron  should  not  be  red-hot,  and  should  it  by 
accident  get  so,  dip  in  water  for  an  instant 
before  using ;  supposing  it  to  be  of  the  right 
heat,  dip  it  in  the  spirit  jar  to  clean  it,  and  then 
pick  up  a  little  solder  with  the  point  of  the  iron, 


582 


A   BOOKCASE    WITH  SLIDING    GLASS  DOORS. 


and  apply  it  to  the  part  to  be  tinned  ;  let  the 
iron  rest  on  it,  so  that  the  heat  is  communicated 
to  the  metal  to  be  tinned,  and  rub  the  iron  along, 
picking  up  more  solder  as  required,  and  heating 
the  iron  again  if  necessary.  Whilst  still  hot, 
place  the  two  pieces  of  metal  in  position,  a  on 
b,  and  with  a  piece  of  wood  press  them  closely 
together  ;  draw  the  soldering  iron  along,  letting 
it  rest  principally  on  the  double  thickness.  By 
this  means,  the  solder  flows  between  the  two, 
and  they  are  then  thoroughly  united  ;  but  if  the 
iron  is  drawn  down  on  the  single  thickness  of 
stuff,  the  edges  only  are  joined.  To  join  two 
pieces  of  tubing  by  means  of  a  piece  slightly 
smaller,  slipped  between  the  two  (Fig.  6),  tin 
the  short  piece  all  over  the  outside,  and  the 
inside  of  the  two  pieces  about  \  inch ;  slip  the 
tubes  together,  and  run  a  hot  iron  round  the 
join,  and  as  far  up  each  pipe  as  you  have 
tiuned,  using  some  solder  at  the  joint;  wherever 
the  iron  goes  outside,  the  solder  will  run  inside. 

One  other  example  will,  perhaps,  be  of 
service,  and  that  is  soldering  a  thin  piece  of 
metal  to  a  large  solid  piece.  It  is  impossible 
to  do  this  unless  the  larger  piece  is  heated 
to  somewhere  near  the  melting-point  of  the 
solder ;  this  can  be  done  either  by  placing  it 
on  the  stove,  or  allowing  the  iron  to  rest  on  it 
for  some  time  till  the  required  degree  of  heat  is 
obtained ;  it  can  then  be  soldered  with  ease  ; 
otherwise  a  botchy  job  is  the  result.  I  might 
go  on  multiplying  examples  ad  infinitum,  but  I 
think  the  principles  of  the  process  have  been 
explained  clearly  enough  for  the  amateur  to 
work  out  his  own  examples,  and  will  conclude 
with  a  few  general  directions  and  maxims. 

Always  keep  your  iron  clean  and  well  tinned. 
After  soldering  zinc  or  galvanised  iron,  whilst 
hot  file  or  scrape  off  the  dross  which  always 
accumulates  on  the  iron  when  soldering  these 
metals,  before  using  it  for  anything  else.  Use 
an  iron  of  suitable  size  for  the  job  in  hand.  Do 
not  try  to  solder  a  metal  teapot  with  a  heavy 
iron,  or  a  hole  in  a  lead  roof  with  a  small  one  ; 
and  do  not  keep  on  trying  to  solder  when  you 
find  the  metal  tdoes  not  flow  freely,  but  re-heat 
the  iron.  Lastly,  do  not  expect  to  do  as  good 
work  as  a  professional  tinman  the  first  time 
of  trying. 


BOOKCASE  WITH   SLIDING 
GLASS  DOORS. 

By  "  DESIGNER." 

HERE  are  not  two  men,  perhaps,  in 
every  thousand  of  those  who  are 
lovers  or  students  of  literature,  to 
whom  experience  has  not  taught  the  lesson  that 
to  possess  books  for  which  no  accommodation  is 
afforded  is  provocative  of  considerable  annoy- 
ance, by  reason  of  those  books  littering  the 
home  or  the  study,  as  the  case  may  be,  and 
being  individually  difficult  of  access. 

Perhaps  one  may  closely  connect  this  source 
of  inconvenience  to  the  desire  of  a  recent 
correspondent,  intimating  that  he  had  in  view 
the  construction  of  a  large  bookcase  with  sliding 
doors,  and  requesting  particulars  relative  to 
its  construction. 

This  correspondent  was  the  one  who,  a  short 
time  back,  was  the  means  of  inducing  the 
Editor  to  notify  to  his  contributors  that  when 
a  writer  described  an  article  of  furniture,  he 
should  give  particular  attention  to  the  various 
dimensions  of  the  necessary  pieces  of  wood,  and 
state  the  exact  sizes  thereof,  not  merely  in  bulk 
sufficient  to  allow  for  properly  cutting  up,  but 
severally,  such  as,  say,  four  pieces  for  sides  of 
job  :  two  of  which  will  be  20  by  10  inches,  and 
two  20  by  5  inches  each. 

I  shall  try,  to  the  best  of  my  ability,  to 
satisfy  this  reader ;  but  I  must  give  it  as  my 
opinion,  that  little  use  is  likely  to  accrue  from 
such  procedure.  For  instance,  he  desires  a 
bookcase  about  8  feet  high  and  6  or  7  feet  wide. 
Now,  I  ask,  how  many  will  need  such  a  large 
article  ?  Many  would  prefer  it  4  feet  or  3  feet 
6  inches  wide,  and  proportionately  high. 
Whence  comes  the  utility,  then,  of  detailing 
dimensions  ?  Looking  at  it  from  the  writers' 
point  of  view,  I  think  that  it  entails  much 
responsibility  and  much  unnecessary  labour 
upon  them.  Personally,  whatever  else  I  may 
be,  I  am  but  a  poor  arithmetician ;  and,  there- 
fore, caution  our  correspondent  to  study  and 
check  the  sizes  I  give. 

There  is  another  aspect  I  should  like  to  touch 
upon ;  and  as  this  subject  affects  readers  and 
writers  alike,  perhaps  all  this  digression  on  the 


A  BOOKCASE    WITH  SLIDING    GLASS  DOORS. 


583 


PIG.    I. — BOOKCASE    WITH  SLIDING   DOORS,    COMPLETE. 


584 


A   BOOKCASE    WITH  SLIDING    GLASS  DOORS. 


topic  will  be  permitted.  All  amateurs  should, 
like  good  workmen,  carefully  prepare  full-size 
drawings  of  all  parts  of  an  article  they  con- 
template constructing,  upon  stiff  lengths  of 
paper.  If  this  is  done,  where  lies  the  difficulty 
of  noting  down  the  sizes  of  the  wood  required ; 
and  would  not  such  a  course  be  less  open  to 
miscalculation  than  an  imaginary  summing-up 
by  means  of  paper  scales  ?  But,  enough  :  let  us 
proceed  with  the  construction. 

I  will,  although  perhaps  unnecessarily,  state 
that  there  are  three  doors  in  the  top  carcase  of 
the  job,  the  front  one  of  which  is  supposed  to 
slide  to  the  right  or  to  the  left  between  runners, 
while  at  the  back  there  are  two  doors  moving  in 
a  similar  manner  along  another  channel. 

The  cornice,  etc.,  comes  first.  Glance  at 
Fig.  12.  c  represents  the  frieze;  this  may 
consist  of  four  boards,  mitred  and  screwed 
together,  and  strengthened  by  corner  blocks ; 
to  the  bottom  edges  of  these  will  be  screwed 
flat  thin  pieces,  the  side  and  back  ones  being 
about  4  inches  wide,  while  the  front  one  is 
somewhat  wider.  The  outside  edges  of  these 
pieces  should  be  allowed  to  project  a  trifle 
beyond  the  front  and  sides  of  the  frieze.  Thus 
there  is  a  very  large  opening  formed,  which  will 
fit  over  certain  parts  of  the  main  carcase,  of 
which  I  shall  soon  speak. 

A  moulding  (b,  Fig.  12)  must  then  be  mitred 
up  to  fit  on  the  front  and  sides  of  the  frieze,  to 
which  it  will  be  screwed,  as  in  that  diagram. 
Above  this  will  be  a  moulding  (a),  similarly 
mitred  to  the  last  one  spoken  of,  and  glued  to 
it.  It  may  be  further  strengthened  by  glue- 
ing and  screwing  strips  of  wood  on  its  inner 
surfaces. 

To  fix  the  pediment,  you  may  drive  a  screw 
through  its  middle,  as  in  Fig.  14,  into  the  top 
of  the  cornice. 

The  top  carcase  appears  next.  First  comes  a 
moulded  bottom  board  and  a  plain  top  board, 
the  former  wider  by  its  moulding  than  the 
latter.  The  top  one  must  be  about  \\  inches 
wider  than  the  sides  of  the  article,  \  inch  being 
occupied  by  a  portion  of  a  pilaster,  a  section  of 
which  latter  is  shown  in  Fig.  1 5  in  plan. 

These  pilasters  are  cleated  at  the  back  (a 
wide  rebate  is,  perhaps,   a  better  description), 


and  screwed  to  the  side  boards,  as  indicated. 
For  better  construction,  it  is  preferable  to  notch 
the  inner  edges  of  the  pilasters  at  the  bottom 
and  top,  to  receive  the  ends  of  the  door  guides. 

On  the  front  of  each  pilaster  will  be  glued  a 
facing,  of  a  width  not  quite  reaching  that  of  the 
pilaster  itself,  ending  plainly  at  the  top,  but 
standing  upon  a  small  moulded  piece,  glued  at 
the  bottom,  coming  in  contact  with  the  top 
surface  of  the  bottom  board.  On  the  front  of 
this  face-board,  at  the  top,  directly  underneath 
the  cornice  and  frieze,  might  also  be  glued  a 
small  bracket,  of  the  shape  shown  in  Fig.  1 . 

The  door-runners  consist  of  three  thin  strips 
of  wood,  travelling  completely  along  the  upper 
surface  of  the  bottom  board ;  and  also  three  upon 
the  lower  face  of  the  top  board,  near  their 
front  edges,  the  ends  of  them  being  received, 
as  before  said,  in  notches  at  the  sides  of  the 
pilasters.  As  an  alternative,  and  a  method 
much  easier  to  work,  their  ends  could  merely 
butt  up  against  the  pilasters.  It  may  be  suffi- 
cient for  these  runners  to  be  planted  ivpon  the 
bottom  board,  and  glued  and  screwed ;  but  some 
workmen  would  prefer  to  groove  the  bottom 
board,  and  joint  the  runners  into  them,  as  in 
Fig.  8.  Of  course,  the  top  runners  are  fitted  in 
a  similar,  but  reverse,  manner  to  those  at  the 
bottom. 

The  back  board  may  consist  of  boards  jointed 
up  to  the  sides,  etc. ;  to  do  this,  rebate  the 
back  edges  of  the  top  and  bottom  boards  and 
sides ;  into  this  rebate  (or  rabbet)  the  boards 
may  be  screwed. 

My  advice  to  the  maker  is  not  to  fix  the 
shelves  in  position  immovably,  by  joining  them 
to  the  sides  of  the  job,  but,  instead,  to  screw  about 
three  small  lengths  of  wood  underneath  them 
at  each  end  to  the  cupboard  sides.  However, 
should  a  reader  consider  that  a  tongue  at  the 
end  of  each  shelf,  jointed  to  the  side  boards,  the 
best  method  of  adding  further  strength  to  the 
carcase,  he  is,  of  course,  at  liberty  to  adopt  that 
method. 

Embossed  leather  frontings  will  enhance  the 
appearance  of  the  article  if  attached  along  the 
fronts  of  the  shelves.  Of  the  glazed  doors, 
perhaps,  I  need  say  nothing,  as  they  will  be 
mortised   and   tenoned  together    in   the   usual 


A   BOOKCASE    WITH  SLIDING    GLASS  DOORS. 


585 


■way.  It  will  increase  utility  if  small  cavities 
are  worked  on  the  fronts  of  them,  as  shown  ;  by 
the  aid  of  them,  the  hand  can  shift  the  doors 
backwards  and  forwards  more  easily.  It  may 
he  well,  too,  to  make  the  bottom  and  top  rails 


will  be  two  side  boards,  faced  up  by  pilasters  in 
the  same  way  as  in  connection  with  the  upper 
carcase.  A  bottom  board  will  be  joined  between 
the  two,  and  their  backs  may  be  rebated  for 
the  reception  of  the  back  board.     A  panelled 


FIG. 8 


FIC.9. 

DESCRIPTION   OF  FIGURES. 


FIC.14. 


FIG.  2. — FRONTAL  SECTION  OF  LOWER  CARCASE  PERPENDICULAR  DIVISIONAL  BOARDS,  SHOWING  BLOCKS  TO  SECURE  THE 
LATTER.  FIG.  3. — SIDE  SECTION  OF  TOP  BOARD,  FRIEZE  AND  MOULDING  OF  LOWER  CARCASE.  FIG  4. — FRONTAL 
SECTION  OF  END  OF  UPPER  BOOKSHELF  WITH  SUPPORTING  BLOCK  SHOWN.  FIG.  5. — PLAN  OF  ONE  CORNER  (FRONT 
AND  SIDE)  OF  MITRED  FRAMING  UNDER  FRIEZE.  FIG.  6. — PIECE-PLAN  OF  TOP  OF  UPPER  CARCASE  WITH  CORNICE 
STAYS  SHOWN.  FIG.  7. — SIDE  SECTION  OF  PLINTH  BOARDS  WITH  CLEAT  (SHADED)  SHOWN  (THE  LATTER  ALSO 
SHOWS  IN  FIG.  9).  FIG.  8. — CROSS  SECTION  OF  DOOR  RUNNERS.  FIG.  9. — PERSPECTIVE  VIEW  OF  PLINTH  WITH 
CLEATS  SHOWN  (THE  LATTER  ARE  NOT  JOINED  TO  PLINTH  IN  ANY  WAY).  FIG.  IO. — ANOTHER  METHOD  OF  MAKING 
PLINTH.  FIG.  II. — BOTTOM  END  OF  PILASTER  (UPPER  CARCASE,  AND  SHOWN  ALSO  IN  PLAN,  FIG.  15).  FIG.  12. — 
CROSS  OR  SIDE  SECTION  OF  CORNICE  AND  FRIEZE.  FIG.  13. — FRONTAL  ELEVATION  OR  SECTION  OF  SIDE  OF  LOWER 
CARCASE  AND  SHELF.  FIG.  14. — MANNER  OF  SECURING  PEDIMENT.  FIG.  15.  — PLAN  OF  FRONT  CORNF.R  OF  UPPER 
CARCASE.  FIG.  16. — PLAN  OF  FRONT  CORNER  OF  LOWER  CARCASE.  FIG.  17. — CROSS  SECTIONAL  ELEVATION  OF 
LOWER  DOORS. 


of  wider  stuff  than  the  upright  stiles,  in  order 
that  all  shall  appear  uniform  when  within  the 
runners.  If  the  door-runners  are  merely  butted 
against  the  pilasters,  and  screwed  there,  they 
will  be  conveniently  placed  for  removal,  in  case 
of  injury  happening  to  the  doors  ;  it  will  thus  be 
easy  to  repair  the  injury. 

The  lower  carcase  is  now  arrived  at.     There 


board  could  be  inserted  with  effect  as  a  back 
board  behind  the  middle  opening.  The  bottom 
board  will  be  wider  than  the  sides,  as  in  the 
top  carcase. 

I  must  now  ask  the  reader  to  study  Fig.  3 
awhile,  and  then  follow  me  in  descriptive  details. 
The  top  board,  a,  has  a  moulded  front  edge ; 
it  is  screwed,  as  shown,  to  long  back  and  front 


586 


A  BOOKCASE    WITH  SLIDING    GLASS  DOORS. 


pieces,  b,  each  about,  say,  2\  inches  wide,  and 
one  of  them  incised  or  carved.  The  ends  of  b 
are  joined,  in  some  such  manner  as  that  shown 
in  Fig.  16,  to  the  inner  surfaces  of  the  pilasters  ; 
while  along  the  whole  length  of  the  front  one, 
b,  underneath  it,  will  be  screwed  a  narrow  piece 
having  a  projecting  front. 

The  top  can  be  thickened  by  glueing  on  the 
front  of  this  last-mentioned  board  two  mould- 
ings, d  and  e  ;  and  the  brackets  on  the  pilasters 
can  be  also  glued  in  position. 

The  two  upright  divisional  boards  will  extend 
from  the  bottom  board  to  directly  underneath 
the  top  board.  It  will  be  found  necessary  to  cut 
away  a  portion  of  each  at  the  back  and  front, 
in  order  to  permit  it  to  fit  properly  over  the 
parts  marked  b,  Pig.  3.  To  secure  each  to  the 
under  part  of  the  top  board,  it  will  be  advisable 
to  screw  a  few  small  blocks  (not  long  rails)  on 
both  sides,  as  in  Fig.  2,  that  diagram  being 
an  end  elevation  or  section  of  a  divisional  board, 
etc.  These  latter  boards  must  be  previously 
grooved,  as  at  a,  in  Fig.  13,  to  permit  the 
tongued  drawer-bearers,  b,  to  lay  in  them. 

As  may  be  known,  each  of  the  three  drawer- 
bearers  will  consist  of  two  side  rails,  tenoned 
into  front  and  back  rails ;  all  being  grooved  on 
their  inner  edges,  to  allow  of  the  entry  of  a  thin 
panelling. 

I  advise  the  reader  not  to  make  use  of  glue  in 
connection  with  these  parts,  except  at  the 
mortises  and  tenons.  I  am  really  advising  upon 
the  advice  of  a  well-known  authority  on  wood, 
who  averred,  some  time  back,  that  boards, 
however  well  seasoned  they  may  be,  are  liable 
to  shrink  in  width,  although  not,  perhaps, 
appreciably  in  length  ;  aud  that,  under  these 
circumstances,  when  a  framing  was  so  joined  to  a 
board  that  that  particular  end  of  it  which  came 
together  with  it  was  running  cross-grained  to 
it,  and  was  glued,  the  latter  would  shrink  under 
certain  conditions  of  atmospheric  changes, 
thereby  causing  detriment  by  cracking,  etc.  If, 
however,  the  various  parts  are  well  fitted,  and 
no  glue  is  used,  allowance  is  made  for  the  free 
play  of  all  portions,  under  whatever  conditions 
of  climate  they  may  meet  with. 

Of  the  drawers  I  shall  say  nothing,  as  I  think 
instructions  will  be  superfluous  ;  and  concerning 


the  doors,  I  shall  merely  remark,  that  I  have 
given  a  diagram  (Fig.  7),  in  which  is  a  sectional 
view  of  the  stiles,  A,  moulding,  c,  and  panel,  b. 

In  due  course  we  have  arrived  at  the  plinth. 
Four  boards,  dovetailed  or  mitred  and  screwed, 
will  give  us  the  main  portion.  The  back  piece, 
however,  could  be  joined  nearer  the  front, 
between  the  end  pieces,  if  considered  best. 
Four  pieces,  of  a  few  inches  width  each,  will  be 
mitred  and  screwed  over  the  tops  of  the  other 
boards,  as  in  Fig.  9  and  section  Fig.  7,  b,  all 
parts  being  strengthened  by  small  blocks  being 
screwed  in  the  corners.  The  plinth  can  then  be 
screwed  to  the  bottom  carcase,  from  underneath 
the  longer  parts ;  but  it  will  be  preferable,  on 
account  of  the  end  part  running  cross-grained 
to  the  bottom  board,  to  use  cleats,  as  in  Fig.  9, 
which  are  to  be  screwed  only  to  the  bottom 
board,  thus  allowing  the  required  free  play.  A 
small  moulding,  glued  and  screwed  round  the 
front  and  sides  of  the  plinth  boards,  will  finish 
the  article  so  far  as  construction  is  concerned. 

I  may,  however,  give  another  form  of  making 
the  plinth.  It  is  shown  in  Fig.  10.  Four  stout 
boards  will  be  mitred  up  within  the  plinth 
boards  proper,  and  screwed  to  the  latter,  the 
bottom  edges  of  all  being  flush  one  with  the 
other,  but  the  top  edges  of  the  inner  ones  being 
at  a  short  distance  down  from  the  top  of  the 
remainder.  The  bottom  board  of  the  carcase 
can  then  be  screwed,  from  the  top  side,  to  the 
thickness  of  both  of  the  longer  inner  boards,  in 
several  places,  while  but  one  screw  is  used  at 
each  side,  in  the  middle,  to  join  each  to  the 
shorter  inner  boards. 

The  top  and  bottom  carcases  may  be  screwed 
to  each  other.  To  keep  the  cornice,  etc.,  in 
proper  position,  screw  two  stays  along  the  top 
of  the  upper  carcase,  as  in  piece  plan,  Fig.  6,  in 
such  a  manner  that  their  outside  edges  just  fit 
within  the  framing  formed  at  the  bottom  of  the 
frieze  and  cornice. 

The  description  of  wood,  and  the  finishing 
processes,  such  as  polishing,  must  be  left  to  the 
reader's  judgment  and  wishes  ;  although  it  may 
be  mentioned  that  our  correspondent  contem- 
plated making  the  article  in  pitch  pine. 

Dimensions  appropriate  to  the  large  outside 
sizes  named  by  our  correspondent  now  follow  ; 


ME  TAL-  TURNING. 


but  I  must  again  remind  him  to  remember  my 
remarks  thereupon,  written  heretofore. 

Upper  carcase  :  width,  6  ft. ;  top  and  bottom 
boards,  each  6  ft.  2  in.  by  16  by  1  in. ;  sides, 
6  ft.  2  in.  by  13f  by  \\  or  2  in. ;  shelves,  5  ft. 
9  in.  by  13  in.  ;  door  stiles  (6),  4  ft.  1  in.  by  2| 
by  f  or  1  in. ;  (6)  1  ft.  5  in.  by  3  (to  allow  for 
portion  to  be  hidden  by  door-runners  or  guides) ; 
pilasters,  4  ft.  1  in.  by  3  by  2  in.  Lower  carcase  : 
height,  about  3  ft.  3  in. ;  top  board,  6  ft.  2  in.  by 
21  by  If  in.  (thickened  to  about  3  in.);  bottom 
board,  6ft.  by  19 \ by  fin.;  sides,  2ft.  by  18f 
by  1  \  in. ;  upright  divisional  boards,  2  ft.  8  in. 
by  19i  by  If  in. ;  middle  shelf,  1ft.  7^  in.  by 
19£  by  f  in. ;  door  stiles  (4),  1  ft.  11  in.  by  2\ 
by  f  in. ;  (4)  1  ft.  5  in.  by  2J  by  f  in.  ;  plinth 
boards  (2),  6  ft.  2  in.,  by  5  by  1  in. ;  (2)  21  in.  by 
-5  by  1  in.  There  yet  remain  a  few  boards,  such 
as  panels,  etc.,  which  you  should  be  fully  able 
to  calculate  from  the  foregoing  dimensions. 
These  are  the  bare  sizes.  You  must  allow  extra 
for  sawing  and  planing,  which  will  be  explained 
upon  inquiry  at  the  timber  yard ;  thickness, 
in  addition  to  length  and  width,  must  be  in- 
creased. I  advise  you  to  have  one  or  more 
perpendicular  divisions  in  the  upper  carcase  ; 
otherwise  the  shelves  may  not  support  the 
weight  upon  them. 


METAL-TURNING. 

By  A  FOREMAN  PATTERN-MAKER. 


VIII. — Conclusion. 
p^'^a  SHALL  now  conclude  this  series  with 
L^a  Sel  an  article  on  the  methods  of  boring: 
jjggyilg  holes  which  are  too  large  to  be 
undertaken  with  drills  and  bits — holes  for 
which  the  boring  bars  and  boring  heads  are 
brought  into  requisition ;  and  on  the  means 
bv  which  the  flanges  and  ends  of  bored  work 
are  faced  off. 

Boring  is  done  (1)  with  one  or  two  cutters 
wedged,  or  otherwise  secured,  in  a  slender  slotted 
bar  ;  (2)  with  a  series  of  cutters  arranged  around 
a  disc  or  boring  head.  In  the  first  case  the 
cutters  revolve  in  one  vertical  plane,  and  the 
work  is  traversed  on  the  saddle  of  the  slide-rest. 


In  the  second  case  the  work  is  also  usually 
traversed.  The  exception  is  when  the  head 
forms  an  integral  portion  of  the  boring  bar, 
and  is  traversed  by  self-acting  mechanism  upon 
the  bar. 

The  first-named  method  of  boring,  by  means 
of  a  bar,  and  single  or  double  cutters,  is  ex- 
tremely simple.  A  rod  of  iron  or  steel  is  taken 
and  slotted  about  the  central  portion,  and  a  tool 
point  suitable  for  the  work  in  hand  inserted,  and 
held  fast,  generally  with  a  wedge,  occasionally 
with  a  set  screw.  The  bar  is  then  put  between 
lathe  centres,  and  driven  round  with  dog  and 
driver,  at  a  suitable  cutting  speed  adapted  to  the 
work  in  hand.  The  work  being  bolted  on  the 
saddle  of  the  slide-rest,  is  traversed  longitudin- 
ally by  self-acting  leading  screw,  or  rack,  or  by 
hand,  if  automatic  traverse  is  not  available. 

It  is  essential  that  a  boring  bar  should  always 
be  made  as  large  as  convenient  for  the  job  in 
hand ;  the  stouter  the  bar,  and  the  smaller  the 
radius  to  which  the  tool  point  projects  from  it, 
the  less  clatter  there  will  be  in  boring,  and  the 
smoother  will  the  hole  be. 

For  deep  heavy  cutting,  the  tool  point  formed 
on  the  principle  of  the  roughing  tool  for  lathe 
work  (Fig.  39)  is  used.  With  such  a  tool  a 
coarse  feed  can  be  taken,  and  a  large  quantity 
of  material  can  be  removed.  For  amateur's  work 
it  is  exceedingly  useful  and  manageable.  It  also 
bores  truly  as  regards  the  circular  form  ;  but,  of 
course,  it  leaves  minute  ridges  in  the  work,  like 
all  roughing  tools  do.  For  finishing  a  hole 
smoothly,  therefore,  a  tool  of  a  different  form  is 
employed,  of  the  general  type  shown  in  Fig.  40  ; 
this  consists  of  a  flat  scraping  cutter,  wedged 
similarly  in  the  bar,  but  the  form  of  which  is 
adapted  for  the  removal  of  small  quantities  of 
metal  only.  The  tool  cuts  at  the  leading  corner, 
a,  alone,  and  not  down  the  sides,  b.  Very  often 
these  cutters  are  made  to  work  on  opposite  sides, 
so  that  their  forces  balance  each  other.  The 
cutter  is  then  of  the  form  in  Fig.  41. 

Unless  these  cutters  are  wedged  in  carefully, 
they  are  apt  sometimes  to  become  moved  out  of 
place  by  the  stress  of  cutting  ;  they  should  there- 
fore make  a  close  fit  with  the  slot,  and,  more 
important,  the  wedge  used  should  fit  well,  so  that 
when  cutter  and  wedge  are  all  driven  in,  the  slot 


58S 


METAL-  TURNING. 


METAL-TURNING. 


589 


shall  be  completely  and  closely  filled  up.  If  the 
fit  is  thus  good,  very  hard  driving  is  not  neces- 
sary, and  there  is  little  risk  of  the  cutters  and 
wedge  working  loose.  Sometimes  the  cutter, 
when  of  the  broad  scraping  type,  is  formed  with 
a  shoulder,  and  then  it  cannot  be  driven  inwards 
by  stress  of  cutting ;  but  then  the  cutter  can  only 
be  used  for  boring  a  definite  diameter.  This, 
which  diminishes  the  value  of  the  shoulder  in 
jobbing  work,  increases  its  value  for  work  of  a 
repetition  character. 

For  boring  model  cylinders  this  is  a  very  good 
tool ;  for  light  work  it  need  not  be  preceded  by 
the  roughing  cutter.  If,  however,  there  is  a  large 
quantity  of  material  to  be  removed,  say  more  than 
£  inch  or  tV  inch  diameter,  a  drill  may  be  driven 
through  the  rough  casting  first,  to  remove  not 
only  about  one  half  the  metal,  but  also  to  take 
out  the  hard  surface  scale  and  sand,  and  so 
leave  a  soft  clean  surface  for  the  cutters  to 
operate  upon. 

But,  boring  with  a  single  cutter,  or  with  two 
cutters  only,  is  slow  work  when  large  diameters 
are  concerned.  Besides  this,  one  or  two  cutters 
do  not  bore  a  large  hole  with  sufficient  truth ; 
hence  the  common  practice  is  to  employ  a  boring 
head,  or  ring  of  cutters.  In  any  boring  head, 
however  small,  there  are  seldom  less  than  five 
or  six  cutters  used,  and  in  larger  ones  they  will 
number  a  dozen  or  eighteen.  Sometimes  these 
cutters  are  of  the  roughing  tool  form  (like  Fig. 
39),  set  in  radial  holes,  and  each  pinched  with 
its  set  screw ;  of tener  they  are  of  the  scraper 
form  (Fig.  42),  and  secured  with  wedges.  The 
boring  heads  are  occasionally  made  solid  with 
their  bars,  but  in  the  majority  of  cases  they  are 
separate  annular  rings,  bored  out  to  fit  over 
their  bars,  upon  which  they  are  keyed  in  any 
required  position  ;  the  advantage  of  this  is,  that 
several  boring  heads  of  various  diameters  are 
interchangeable  on  the  same  bar,  besides  the 
advantage  of  being  adjustable  lengthwise  on 
their  bars.  In  workshops  these  heads  are  kept 
by  dozens,  and  usually  each  head  is  fitted  up 
with  its  own  proper  set  of  cutters. 

The  reason  why  the  cutters  are  seldom 
changed,  is  because  they  are  always  fitted  and 
turned  up  in  place,  before  tempering,  on  their 
own  head.     The  pieces  of  steel,  of  which  they 


are  composed,  are  first  cut  off  and  annealed,  and 
filed  to  shape,  with  or  without  shoulders.  In 
Fig.  42a  they  are  seen  fitted  with  shoulders, 
the  better  to  withstand  the  cutting  pressure ; 
they  are  tightened  in  with  wedges,  b,  are  turned 
up  in  place,  removed  and  backed  off  to  the 
dotted  line,  c,  to  give  suitable  clearance  for 
proper  cutting,  are  marked,  removed,  and  tem- 
pered, sharpened,  and  then  returned  to  their 
place  ready  for  use.  As  these  cutters  all  bear 
in  the  grooves,  east  or  slotted  for  their  reception 
around  the  head,  and  as  these  grooves  are  seldom 
of  exactly  the  same  depth,  to  change  the  cutters 
from  one  to  another  would  often  result  in  the 
formation  of  an  untrue  circle  of  cutting  edges. 

As  in  the  single  and  double  flat  cutters,  so  in 
these  the  operating  edges  are  those  at  the  front 
corners,  a,  not  at  the  sides  ;  only  for  a  distance 
of  from  \  inch  to  \  inch  do  they  cut  the  metal. 

Another  matter  is  this :  in  a  ring  of  cutters 
each  one  cuts  a  section  only  of  a  circle ;  they  cut 
in  succession,  each  one  being  set  a  little  in 
advance  of  its  fellow,  say  from  &  inch  to  jg  inch. 
Each  then  takes  its  due  share  of  cutting,  which 
could  not  be  the  case  if  they  were  all  set  alike, 
for  in  such  a  case  the  leading  cutter  would  do 
all  the  work,  and  the  remainder  would  simply 
operate  as  guides  for  circular  accuracy. 

A  self-acting  boring  bar,  of  relatively  simple 
construction,  is  shown  in  Fig.  43.  I  give  no 
dimensions,  but  have  drawn  it  to  scale  from  an 
existing  bar  in  common  use ;  and  there  is  no 
hard  and  fast  rule  for  proportion  of  diameter  to 
length  in  these  bars.  They  may  range  from  2 
or  3  inches  to  1  foot  in  diameter ;  and  the 
diameter  of  the  heads  may  be  varied  to  suit  work 
in  hand.  In  the  larger  bars,  however,  it  is  usual 
to  put  differential  wheel  gear,  instead  of  the 
simple  star  feed  shown  in  this  figure  ;  but  such 
is  rather  beyond  the  range  of  amateur  work. 

The  construction  of  the  bar  is  as  follows  :  An 
iron  body,  a,  is  provided  with  a  recess,  a, 
running  down  the  whole  of  one  side ;  in  this 
recess  the  feed  screw,  b,  usually  square-threaded, 
lies.  The  screw  has  its  bearings,  c  o,  fitted  and 
screwed  into  the  ends  of  the  bar.  The  bar  is 
turned  smooth  and  parallel  throughout  its 
length ;  and  the  head,  d,  also  of  cast  iron,  is 
bored  truly  to  slide  along  it  with  freedom,  yet 
vol.  in.  (n.s.) — 3  A. 


590 


A   HALL   LANTERN  AND  JARDLNLERE. 


without  slackness.  A  nut,  e,  is  attached  inside 
the  bored  hole.  The  nut  is  screwed  to  fit  the 
feed  screw,  B,  and  being  actuated  by  it  moves 
the  head,  d,  along.  The  feed  screw  is  actuated 
by  the  star,  f. 

The  mode  of  use  of  the  bar  is  this  :  the  work 
to  be  bored  is  fastened  down  to  the  lathe  bed,  or 
to  the  saddle  of  the  rest,  and  the  bar  is  driven 
round  between  lathe  centres.  The  head  is  set 
in  a  suitable  position  for  commencing  a  cut,  and 
in  making  one  revolution  takes  an  annular  cut 
equal  in  length  to  the  capacity  of  its  cutters. 
When  the  bar  terminates  one  revolution,  the 
star  strikes  a  projection  fastened  to  any  con- 
venient spot,  and  is  moved  round  a  distance 
equivalent  to  the  fractional  portion  of  the  pitch 
of  the  screw,  which  is  turned  by  the  movement 
of  the  star,  and  the  nest  cut  is  taken  in  that  new 
position,  and  so  on. 

The  object  of  the  boss  of  d  is  to  give  good 
length  of  bearing,  and  consequent  steadiness  of 
longitudinal  movement. 

The  forms  of  the  cutters  may  be  either  of 
those  already  described,  and  the  same  head  can 
be  utilised  for  them  all. 

In  almost  all  cases  the  operation  of  boring  by 
means  of  a  bar,  or  of  a  cutter  head,  is  followed 
by  that  of  facing  the  ends  of  the  work,  the  job 
remaining  in  the  same  position  that  it  was  in 
while  being  bored.  When  the  job  is  fixed,  the 
only  good  way  of  facing  the  ends  is  by  means 
of  a  star-feed  arrangement.  There  are  several 
modifications  of  this  appliance  used.  The  general 
method  is  as  follows :  Fig.  44  represents  a 
common  form ;  a  is  a  block  of  metal,  usually  of 
cast  iron.  A  second  block,  a  tool-holder,  b,  slides 
upon  this.  It  is  operated  by  means  of  the  feed 
screw,  c,  and  star  wheel,  d  ;  the  former  is  pre- 
vented from  endlong  movement  by  the  collars, 
E  e.  The  casting  is  either  made  to  embrace  the 
outside  of  the  boring  bar  ;  or,  if  made  as  in  the 
figure,  is  keyed  into  a  slot  in  the  bar.  It 
revolves,  therefore,  with  the  bar,  and  the  tool,  f, 
cuts  a  face  annular  and  equidistant  from  the 
centre.  On  completing  a  revolution,  the  star,  d, 
strikes  against  a  suitable  projection;  and  turn- 
ing the  screw,  c,  through  an  arc  of  a  circle, 
feeds  the  block,  b,  and  tool,  f,  inwards  for  the 
next  cut,  and  so  on. 


HALL    LANTERN    AND 
JARDINIERE. 

By  O.  MAYNARB  WALKER. 


IN  Part  2,  Vol.  I.  (New  Series),  of 
Amateur  Woke,  I  described  a  novel 
process  of  "roughly  ornamental" 
decoration  for  woodwork,  the  particular  example 
then  under  notice  being  a  simple  picture  frame. 

Since  then,  I 
have  success- 
fully applied 
the  process  to 
a  variety  of  ob- 
jects, amongst 
others  a  hall 
lantern,  which 
turned  out  to 
be  very  effec- 
tive in  appear- 
ance ;  so  that, 
with  the  view 
of  helping  the 
readers  of  Am- 
ateur Work, 
Illustrated,  I 
now  submit  the 
accompanying 
designs. 

Manyreaders 
will,  doubtless, 
have  noticed 
in  the  metal 
articles  apper- 
taining to  lighting,  a  revival  of  the  taste  for  iron 
and  brass  scroll  work,  which  taste  has  stimu- 
lated the  production  in  the  last  few  years  of  an 
immense  variety  of  forms  of  that  kind  of  work, 
and  many  amateurs  have  successfully  attempted 
the  somewhat  difficult  task  of  modern  forging  ; 
but  I  apprehend  that  the  average  amateur, 
while  highly  appreciating  the  style,  will  be 
more  willing  to  ride  an  easier  hobby. 

The  making-up  of  the  present  design  is,  after 
all,  only  imitation  of  metal  work,  but  will  be 
found  to  give  very  pleasing  results,  the  finished 
work  presenting  the  appearance  of  a  rough 
casting,  reminding  one  of  a  long-buried  Roman 


A   HALL  LANTERN  AND  JARDINLERE. 


591 


relic,  the  effect  of  which  it  is  impossible  to 
produce  in  the  woodcut  illustration.  The  process 
is  very  easy,  and  may  be  undertaken  with  the 
greatest  confidence  by  anyone  who  can  do  rough 
fretwork ;  and  requires  truth  rather  than  highly- 
finished  workmanship,  the  final  decoration  being 
obtained  by  bronzing  the  rough  grain  of  the 
the  wood  ;  that  is  to  say,  the  patterns  are  cut  from 
unplaned  wood — 
the  rougher  the 
better  —  then 
soaked  in  water, 
so  that  the  grain, 
when  dried,  is 
raised ;  a  ground 
colour  is  applied 
all  over,  and  the 
grain  subsequently 
bronzed ;  another 
consideration  is 
that  the  material 
is  inexpensive,  the 
most  suitable  being 
\  inch  pine,  which, 
while  easy  to  cut, 
has  a  suitable 
grain. 

Fig.  1  represents 
a  hall  lantern  of 
this  material,  sus- 
pended by  brass 
chains,  measuring 
13  inches  high,  13 \ 
inches  from  corner 
to  corner  at  top,  and 
12  inches  at  base. 
Perhaps  one  of  the 
first  thoughts  that 
will  occur  to  the 
reader  will  be  the  apparent  unsuitability  of 
wood  for  making  a  lantern;  but,  as  a  writer 
in  a  former  volume  of  Amateur  Work,  Illus- 
trated, pointed  out,  this  is  only  apparent,  as  no 
part  of  the  frame  comes  into  contact  with  the 
flame,  nor  is  it  exposed  to  any  dangerous  heat, 
especially  as  the  lamp  itself  is  connected  to  a  tin- 
plate  fitted  to  bottom  of  lantern.  The  article 
shown  in  Fig.  1  was  fitted  with  a  paraffin  lamp, 
the  most  suitable  form  of  which  is  one  about  3 


or  4  inches  in  diameter,  with  a  f-inch  burner, 
known  in  the  trade  as  a  "  ring  container,"  and 
made  in  a  variety  of  colours  in  glass,  the  latter 
showing  at  the  bottom  of  lantern,  fitted,  as 
shown  in  Fig.  5,  by  soldering  a  crescent  piece 
of  metal  on  to  the  collar  of  lamp,  the  crescent 
being  fixed  into  the  circular  hole  in  bottom  of 
lantern,  and  thus  held  securely ;  or,  for  a  position 

where  it  is  easy  of 
access,  the  lamp 
may  be  dropped 
into  well-hole  from 
the  top.  About  4 
feet  of  1 1  -  inch 
wide  pine  will  be 
required,  free  from 
knots,  for  the 
work. 

And  now  to  be- 
gin. Having  traced 
your  patterns,  stick 
them  upon  the 
wood  with  thin 
glue  or  melted 
size  ;  cut  out  one  of 
each  as  true  as 
possible,  and  from 
thatrepeat  asmany 
copies  as  may  be 
wanted  by  the 
printing  process 
described  on  page 
25,  Vol.  III.,  of  the 
New  Series  of 
Amateur  Work, 
Illustrated.  Be- 
fore, however,  the 
four  panels  are  cut 
out,  but  after  the 
pattern  is  on,  the  sides  must  be  planed  to  a  true 
mitre,  and  each  true  to  one  another,  so  as  to 
produce  a  properly  squared-up  job  when  sub- 
sequently glued  together.  It  may  occur  to  the 
reader  that  the  top  and  bottom  ornaments  might 
be  cut  out  at  the  same  time,  and  of  the  same 
piece  as  the  panels,  but  it  is  better  to  cut  them 
from  a  piece  with  the  grain  running  in  a  different 
direction  to  that  of  the  panels,  so  that,  when 
glued  on,  they  will  prevent  warping  in  either 


FIC.4. 
CuL4. 


592 


ELECTRIC  LIGHTING  FOR  AMATEURS. 


direction.  It  will  be  observed  that  the  bottom 
ornament  is  set  outwards,  and  the  top  ornament 
inwards  to  the  surface  of  panel ;  this  is  done  by 
cutting  the  corresponding  edges  on  a  bevel. 
When  the  whole  of  the  pieces  are  cut  out,  place 
them  in  water  for  a  few  minutes,  when  all  the 
paper  may  be  easily  peeled  off,  and  the  work  set 
to  dry ;  when  all  but  dry,  place  the  panels 
together  under  a  weight,  so  that  they  may 
finally  dry  without  warping.  Next  carefully 
glue  together  the  panels  ;  this  is  easiest  done 


fig.  8. 

upside  ^down,  as  then  the  panels  tend  to  fall 
together,  rather  than  apart ;  true  up  with  the 
square,  and  leave  to  dry ;  then  carefully  plane 
about  a  J  inch  surface  down  each  corner,  the 
better  to  receive  the  flat  surface  of  the  corner 
scrolls  (Fig.  4)  later  on.  Now  fit  to  the 
inside  of  lantern  a  square  of  tin-plate ;  cut  a 
piece  £  inch  larger  each  way  ;  cut  a  2^-inch 
hole  in  centre,  and  turn  up  a  J  inch  edge  on 
each  side ;  punch  a  small  hole  in  each  turn-up, 
and  with  small  screws  attach  the  same  to  inside 
of  frame ;  glue  on  top  and  bottom  ornaments 
and  the  corner  scrolls,  and  when  the  work  is 
thoroughly  dry,  it  is  ready  for  painting. 

First  prepare  a  paint  of  a  mouldy  green 
tint,  using  turps  as  the  vehicle,  and  mix  mid- 
Brunswick  green,  softened  in  tone  with  a  little 


white-lead,  and  dulled  with  a  piece  of  black ; 
cover  the  work  inside  and  out  with  this — one 
coat  is  sufficient  for  the  purpose — leaving  a  dead 
ground,  with  every  bit  of  grain,  when  dry, 
standing  out  in  relief.  Next  prepare  some 
gold  paint  —  that  is,  gold  bronze  mixed  with 
copal  varnish — and  with  a  good  brush  go  lightly 
over  the  work  again  ;  the  brush  should  hold 
sufficient  to  touch  up  the  projections,  but  not 
enough  to  touch  the  under  portions ;  if  this  is 
well  done — and  it  is  most  easy — every  bit  of  the 
grain  will  stand  out  bronzed,  and,  if  I  mistake 
not,  somewhat  surprise  the  worker  who  sees  it 
for  the  first  time. 

Now  to  suspend  the  lantern.  The  precise 
method  will  depend  upon  whether  we  use 
paraffin  lamp  or  gas.  Fig.  7  shows  a  lamp 
arrangement  for  fixing  inside  the  latter,  and 
needs  no  further  description.  Fig.  1  shows  the. 
lantern  suspended  by  four  lengths  of  brass 
chain  in  each,  with  an  S  hook  at  each  end  of 
chain,  the  lamp  being  taken  out  by  leading  one 
horn  of  the  crescent  downwards,  and  turning 
the  lamp  round,  when,  of  course,  it  leaves  the 
base-plate  of  lantern,  the  reverse  action  fitting 
it  into  its  place  ;  at  the  point  of  suspension  is 
fitted  a  brass  "consumer."  about  6  inches 
diameter,  to  be  had  at  most  lamp  shops.  Fig.  8 
shows  an  alternate  use  of  the  same  design,  from 
a  photograph,  wherein  the  lantern  becomes  a 
jardiniere,  in  which  a  single  pot  of  ferns  is 
placed  ;  but  if  it  were  desired  to  use  the  whole 
space,  it  would  be  well  to  fit  a  zinc  container 
to  the  interior,  forming,  either  way,  a  novel 
table  decoration. 

I  trust  the  design  may  tempt  some  readers  to 
try  their  hands  at  a  light,  easy,  inexpensive, 
and,  I  hope,  pleasing  work. 


ELECTRIC  LIGHTING 
AMATEURS. 

By  OREGOEIE  EDOUIN  BET, 


FOR 


VI 


Pocket    Accumulators— Electric   Jewellery- 
Making  a  Pocket  Accumulator. 

OTWITHSTANDING  the  great  weight 

of     those     secondary    generators    of 

electricity   known    as    accumulators, 

persons  have  been  found  who  wish  for  a  means 


ELECTRIC   LIGHTING  FOR   AMATEURS. 


593 


of  pocketing  them.  Several  years  ago,  a  gentle- 
man, Hying  in  Paris,  invented  a  luminous  scarf- 
pin  and  other  luminous  jewellery.  The  luminous 
jewels  were  simply  pieces  of  out-glass,  set  in  the 
window  of  a  small  cavity  contained  in  the 
setting,  and  this  cavity  was  lit  up  with  a  small 
incandescent  lamp.  The  current  for  this  lamp 
was  generated  in  a  small  chloride  of  silver 
battery,  placed  in  a  well-made  ebonite  case 
of  pocket-book  size,  and  carried  in  the  breast 
pocket  of  a  coat.  Connection  between  the  lamp 
and  battery  was  made  by  means  of  a  silken  cord, 
carrying  a  pair  of  insulated  wires,  and  this  cord 
could  be  easily  concealed  under  the  clothing  of 
the  wearer  of  the  illuminated  jewellery.  By 
pressing  a  spring,  concealed  in  the  vest  or  any 
other  part  of  the  clothing,  a  current  was  sent 
through  the  lamp,  and  caused  the  jewel  to  emit 
a  flash  of  light.  By  such  means  as  these,  some 
pleasing  and  startling  effects  were  produced. 

One  serious  drawback  prevented  the  general 
use  of  this  jewellery.  Not  only  were  the  jewels 
themselves  very  costly ;  the  first  cost  of  the 
battery  was  also  high ;  the  charge  was  not  of  a 
lasting  character ;  the  battery  was  not  constant 
— it  soon  ran  down ;  and  few  persons  knew 
how  to  charge  it  afresh.  As  it  was  not  always 
convenient  to  send  the  battery  to  the  maker  to 
be  repaired,  and  it  soon  got  out  of  order,  it  fell 
into  disuse. 

With  the  invention  of  accumulators,  and  their 
application  to  electric  lighting,  came  a  new 
development  of  the  pretty  electric  jewellery,  and 
its  adaptation  to  scenic  effects  desired  on  the 
stages  of  theatres.  It  was  soon  found  that  an 
accumulator  might  be  made  up  in  the  form  of  a 
satchel,  and  carried  on  the  person  of  "a  fairy," 
to  furnish  current  for  lighting  up  a  star  jewel 
on  the  fairy's  head.  As  those  stars  were  seen 
flitting  about  the  stage  of  a  theatre,  and  it 
became  known  how  they  were  maintained,  a 
natural  desire  arose  in  the  minds  of  the  audience 
to  possess  specimens  of  such  jewellery,  and 
pocket  the  means  for  maintaining  its  brilliance. 
This  led  up  to  the  invention  of  pocket  accumu- 
lators, and  their  adaptation  to  the  work  of 
lighting  fairy  electric  lights,  made  up  in  the 
form  of  gems  for  personal  adornment. 

I  am  informed  by  Mr.  Hartley,  of  the  firm  of 


Messrs.  J.  E.  Hartley  and  Co.,  that  these  electric 
light  gems  are  made  in  Paris,  and  imported 
from  thence  to  England.  I  see  from  Messrs. 
Hartley's  list  that  scarf-pins  in  various  designs 
are  supplied  at  8s.  6d.  each ;  flowers,  containing 
one  lamp  in  a  hair  ornament,  or  the  form  of  a 
bouquet,  from  15s.  each;  and  a  complete  set  of 
battery,  connections,  and  flower,  at  one  guinea. 
The  small  "pea  lamps"  for  these  gems  are 
priced  at  2s.  6d.  each,  but  they  cannot  always 
be  obtained  at  such  a  low  price  from  every 
dealer,  some  charging  from  4s.  to  5s.  for  each 
lamp.  This  is  a  part  of  the  apparatus  which 
cannot  be  made  by  an  amateur,  but  all  other 
parts  may  be  made  by  himself  if  he  is  at  all 
acquainted  with  the  art  of  making  and  setting 
jewellery. 

To  give  some  idea  of  the  method  adopted  in 
setting  and  fixing  these  lamps,  I  herewith  give 
a  sketch  (Fig.  14)  showing  how  the  electrical 
connections  are  made  between  the  battery  and  a 
scarf-pin.  Plexible  double  line  cord  or  braid, 
coated  with  silk  to  represent  silk  cord  or  braid, 
can  be  obtained  for  the  purpose  from  all  dealers 
in  electrical  sundries,  and  should  cost  about  6d. 
per  yard.  The  bared  and  clean  ends  of  the 
conductors  at  one  end  of  the  selected  length  of 
cord  are  connected  to  the  two  fine  wires  coming 
out  from  the  lamp  bulb,  and  are  bound  securely 
here  with  fine  binding  wire,  enveloped  in  silk  to 
prevent  accidental  contact  of  the  wires.  The 
whole  cord  must  then  be  securely  bound  to  the 
back  of  the  pin  or  the  stem  of  the  flower,  to 
prevent  disruption  of  the  wires  when  the  pin  or 
ornament  is  being  removed.  A  sufficient  length 
of  flexible  cord  must  be  secured,  to  pass  from 
the  pin  under  the  clothing  to  the  battery  in  the 
pocket,  and  from  this  down  to  a  small  push 
concealed  in  the  vest  pocket,  or  elsewhere  in  the 
clothing,  as  may  be  preferred.  The  other  end 
of  this  cord  must  then  be  split,  its  conductors 
drawn  out  a  little,  cleaned,  and  fastened  to  the 
two  connecting  screws  of  the  push,  which  will 
be  easily  found  when  the  cover  of  the  press  is 
unscrewed.  The  cord  connecting  the  lamp  with 
the  push  must  now  be  opened  at  a  point  judged 
to  be  convenient  for  making  a  junction  with  two 
flexible  cords  attached  to  the  battery  terminals, 
such  junction  being  at  the  edge  of  the  pocket, 


594 


ELECTRIC  LIGHTING  FOR   AMATEURS. 


whilst  one  part  of  the  cord  goes  to  the  pin,  and 
the  other  to  the  vest  pocket,  as  shown  in  the 
sketch.  At  this  junction  draw  out  one  of  the 
conductors,  and  sever  it ;  then  bare  and  clean 
the  two  ends,  and  connect  them  to  the  battery 
lines,  as  shown.  "When  this  is  done,  bind  the 
joints  with  fine  silk,  to  insulate  the  wires  from 
each  other,  and  then  make  the  whole  junction 
secure  by  binding  all  closely  and  firmly  together. 
We  shall  now  have  a  line  running  from  one 
terminal  of  the  lamp  down  to  the  push,  from 
the  push  up  to  the  junction  of  the  battery  line, 
from  this  down  to 
and  through  the 
battery,  and  from 
the  other  battery 
line  back  to  the 
pin.  Now,  when 
we  close  the  circuit 
at  the  push,  the 
lamp  will  be  lit 
up,  and  continue 
glowing  whilst  we 
press  the  push 
button. 

The  small  accu- 
mulator can  be 
charged  again 

when  exhausted, 
either  by  employ- 
ing the  current 
from  a  dynamo  having  an  E.M.F.  of  eight  volts, 
or  with  current  from  four  Bunsens  or  four 
chromic  acid  cells  arranged  in  series,  care  being 
taken  to  always  send  the  current  through  the 
cell  in  one  direction. 

As  some  of  my  readers  may  wish  to  make  up 
pocket  accumulators  for  themselves,  I  herewith 
give  instructions  for  making  the  cells,  the  plates 
being  prepared  for  these  as  directed  in  the 
previous  chapter. 

Procure  a  sheet  of  gutta-percha,  not  less  than 
\  inch  in  thickness,  12  inches  in  length,  and 
6|  inches  in  width.  Cut  this  sheet  to  the  shape 
shown  at  Fig.  15,  and  to  the  dimensions  marked 
thereon.  The  dotted  bines  on  this  figure  show 
where  the  creases  will  be  made  when  the  gutta- 
percha is  moulded  to  the  form  of  a  box.  The 
two  side  strips,  marked  2  inches,  must  be  slit, 


fi  G.i7. 

A      c 


FIC. 15. 

DESCRIPTION    OF  FIGURES. 


FIG.     14.— SKETCH    SHOWING    HOW    TO    MAKE    CONNECTIONS     BETWEEN 
ELECTRIC  SCARF  PIN,  PUSH,  AND  ACCUMULATOR.      FIG    15. — SHAPE 
OF  GUTTA-PERCHA  SHEET  FOR  POCKET  ACCUMULATOR.      FIG. 
CENTRAL   DIVISION   OF   CELL.      FIG.  17.— COVER   OF   CELL. 


as  shown  by  the  unbroken  line,  and  will  lap 
under  the  bottom  of  the  cell  when  this  is 
moulded,  thus  thickening  and  strengthening  the 
bottom.  Next  get  a  sheet  of  gutta-percha 
6|  inches  in  length  by  4  inches  in  width ;  cut 
off  a  strip  1|  inches  wide  from  one  end,  and 
leave  the  sheet  5J  by  4  inches,  as  shown  on 
Fig.  1 6  ;  this  will  serve  as  a  dividing  partition 
for  the  cell,  to  divide  it  into  two  water-tight 
compartments.  The  dotted  lines  will  show  the 
creases  of  the  joints.  Now  get  two  pieces  of 
smooth   slate   or   marble,    or    any   other    hard 

smooth  substance, 
each  6  inches  long 
by  3 1  inches  wide, 
and  f  inch  in  thick- 
ness ;  these  are  to 
be  used  as  mould- 
ing cores  for  the 
cell,  so  must  be 
quite  smooth,  or 
we  shall  not  be 
able  to  withdraw 
them  when  the  cell 
is  finished.  All 
being  ready,  soak 
the  gutta  -  percha 
in  scalding  hot 
water  until  soft 
enough  to  mould  ; 
place  the  sheet 
for  the  partition  (Fig.  16)  between  the  slabs 
of  slate,  with  i  inch  of  the  sheet  projecting 
at  one  end  and  at  the  sides,  and  turn  these 
superfluous  parts  down  all  round  to  form  flanged 
joints  for  the  partition.  Next  take  the  larger 
sheet ;  soften  this,  and  mould  it  around  the 
slabs,  to  form  the  outsides  and  bottom  of  a 
cell.  The  strips  marked  2  inches  will  now  be 
turned  in  under  the  bottom  of  the  cell,  and  the 
slight  extra  projecting  edges  of  the  sheet  must 
be  pressed  over,  to  form  the  joints. 

Whilst  the  cell  is  hardening  we  may  prepare 
the  plates,  as  directed  in  a  previous  chapter. 
We  shall  need  four  plates,  each  being  4J  by  3£ 
inches.  The  lugs  on  these  plates  should  be  1  inch 
square ;  on  two  plates,  the  lugs  should  be  at 
the  corners,  but  on  the  other  two,  halfway  along 
the  upper  edges.     Next  prepare  a  cover  for  the 


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FIC.  i6. 


i6.- 


CHURCH   CLOCKS. 


595 


cell  out  of  the  piece  cut  off  from  Fig.  16  ;  cut 
two  slits  to  fit  two  of  the  lugs,  as  shown  at 
Fig.  17,  at  a  b,  aud  two  holes  to  fit  two  bits  of 
glass  tube,  in  the  positions  shown  at  c  d.  The 
sides  of  the  cover  can  be  trimmed  to  fit  the  cell 
when  this  is  completed. 

"When  the  gutta-percha  is  hard  enough  to  bear 
handling  without  distorting  the  shape,  proceed 
to  caulk  the  joints  with  a  hot  iron ;  go  over  each 
outside  seam  with  the  hot  iron  until  the  gutta- 
percha melts  and  forms  a  water-tight  seam ;  treat 
the  edges  of  the  laps  on  the  bottom  in  a  similar 
manner  ;  then  withdraw  the  pieces  of  slate,  and 
caulk  the  seams  of  partition.  The  bottom  seams 
inside  may  be  caulked  with  a  piece  of  iron  bent 
in  the  form  of  a  capital  L.  All  seams  must  be 
made  water-tight ;  to  ensure  this  in  the  partition, 
fill  one  side  with  water  after  it  has  been  caulked, 
and  test  the  soundness  of  the  same.  All  being 
sound  and  staunch,  put  in  the  prepared  plates ; 
bend  the  lugs  of  the  central  plates  to  overlap 
each  other ;  cut  off  the  superfluous  lead,  and 
solder  the  lugs  together  across  the  top  of  the 
partition.  The  heat  will  cause  the  lead  to  bed 
itself  in  the  top  of  the  partition,  and  make  a 
water-tight  connection.  Spread  a  little  hot 
gutta-percha  on  the  connecting  joint,  run  a  hot 
iron  along  on  the  top  of  the  partition;  then 
quickly  fit  the  cover  in  its  place,  pressing  the 
centre  down  on  the  hot  gutta-percha,  and  so 
make  it  stick  closely  to  the  top  of  the  partition. 
Next  caulk  the  joints  of  the  cover,  and  fix  two 
short  pieces  of  glass  tube  in  the  holes  at  c  d  ; 
all  defects  may  be  made  good  with  a  cement 
made  of  one  part  pitch  and  two  of  gutta-percha 
melted  together,  and  applied  hot.  The  cells 
may  be  charged  with  acid  (proportions  given  in 
previous  article)  before  the  cover  is  quite  sealed 
down ;  this  done,  all  must  be  made  water-tight 
with  the  cement.  The  two  lugs  of  the  side 
plates  should  be  bent  down,  as  shown  by  the 
dotted  lines  on  Fig.  17,  and  a  binding  screw 
(telegraph  pattern)  soldered  to  each.  The  holes 
in  the  glass  tubes  should  be  stoppered  with 
plugs  of  india-rubber.  Amateurs  who  wish  to 
buy  the  cells  ready  made,  will  find  those  sold 
by  Messrs.  Cathcart  &  Peto,  57b,  Hatton  Garden, 
E.G.,  answer  every  purpose.  They  are  curved  to 
fit  the  wearer,  and  are  absolutely  water-tight. 


CHURCH   CLOCKS: 

HOW  TO  MAKE  ONE  FOR  A  TEIFLE. 
By  W.  A.  ALLEN. 


III.— Dead-beat,  or  "Graham"  Escapement— Double 
Three-legged  Escapement— Fly— Dial  Work- 
Illuminated  Dial— Hands— Conclusion. 

HE  "dead  beat,"  or  "Graham"  es- 
capement (Fig.  15)  is  the  one  generally 
used,  both  for  watchmakers'  regu- 
lators and  church  clocks.  The  escape  wheel  is 
made  of  hammered  brass,  and  the  teeth  must  be 
cut  to  the  greatest  nicety  ;  in  fact,'I  should  say, 
beyond  the  capability  of  the  ordinary  amateur  ; 
but  he  can  get  anything  in  that  line  done  at 
Smith's,  St.  John's  Square,  Clerkenwell. 

The  pallets  are  made  of  steel,  the  working 
parts  well  polished,  and  must  be  rendered  as 
hard  as  it  is  possible  to  make  them.  They  are 
sometimes  made  of  brass,  and  the  acting  parts 
jewelled  with  slips  of  any  hard  polished  stones ; 
and  it  would  be  as  well  to  put  two  pins  in 
the  plate,  to  prevent  the  pallets  going  too  far 
down  the  teeth  of  the  wheel,  and  so  damaging 
them. 

The  "  Graham"  will  be  the  same  train,  and, 
in  fact,  will  be  the  same  all  over,  as  the  pin 
wheel  escapement,  with  the  exception  of  the 
escape  wheel  and  pallets. 

The  next  and  last  escapement  is  the  double 
three-legged  gravity,  invented  by  the  late  Sir 
E.  B.  Denison  for  the  celebrated  clock  at 
Westminster,  now  called  "Big  Ben,"  and 
which,  without  doubt,  is  the  finest  timekeeper 
in  the  world. 

For  turret  and  other  large  clocks  which  have 
to  move  a  number  of  heavy  hands  exposed  to 
wind  and  snow,  the  "Graham"  and  similar 
escapements  are  not  perfectly  adapted. 

The  driving  weight  of  the  clock  must  be 
sufficient  to  move  the  hands  under  most  adverse 
circumstances.  Then,  when  at  times  the  snow 
and  wind  assist  the  hands  in  their  motion,  the 
whole  of  the  superfluous  power  is  thrown  on  the 
escapement,  and  accurate  performance  cannot 
be  expected. 

The  custom  has  been  to  use  for  such  clocks  a 
"  remontaire,"  which  is  an  arrangement  by 
means  of  which  the  train,  instead  of  impelling 


596 


CHURCH  CLOCKS. 


the  pendulum  direct,  ■winds  up  a  spring ;  this 
spring,  unwinding,  administers  a  constant  im- 
pulse to  the  pendulum  ;  a  gravity  escapement 
partakes  somewhat  of  this  principle.  The  train 
raises  an  arm  of  certain  weight  to  proper 
distance,  and  the  weight  of  this  arm  in  returning 
inpels  the  pendulum. 

The  double  three-legged  escapement  is  now 
placed  beyond  doubt  the  only  one  suitable  for  a 


The  wheels  can  be'rivetted,  one  on  each  side, 
and  the  three  pins  drilled  right  through  the 
brass,  and  rivetted,  or  otherwise  secured.  This 
must  be  well  done. 

The  pallets  also  lie  in  the  same  plane,  between 
the  wheels,  but  one  stop,  s,  points  forward  to 
receive  the  a  b  c  teeth,  and  the  other  stop,  s, 
points  backward  to  receive  .the  a  b  c  teeth 
alternately. 

In  the  pallet  tails 
there  must  be  beat 
pins  (see  Figs.  16  and 
17),  which  should  be 
made  of  ivory ;  a 
round  piece,  with  a 
screw  through  to 
secure  it,  but  not  in 
the  middle.  This  will 
allow  the  pendulum 
to  be  put  in  beat  with- 
out binding  the  pallet 
legs,  as  turning  the 
ivory  round  will  have 
the  same  effect.  To 
avoid  any  jar  when 
the  locking  leg  falls 
on  the  block,  there  is 
a  fly  (see  Fig.  19), 
with  a  friction-tight 
spring  on  the  other 
end  of  the  escape 
arbor.  This  fly  causes 
the  legs  to  fall 
smoothly  and  dead  on 
the  blocks,  and  thus 
avoids  all   danger   of 


-CLOCK    COMPLETE  ;    A    A, 
C,  FLY 


WOOD   FRAME    WORK 
D,  ESCAPEMENT. 


ROD    FOR    HANDS  ; 


first-class  large  clock  having  the  hands  exposed. 
It  is  very  simple  to  make,  and  the  results  are 
most  satisfactory.  It  derives  its  name  from 
having  two  three-legged  wheels  (a,  b,  o),  and 
a,  b,  c  in  different  planes,  with  one  set  of  three 
lifting  pins  between  them  (see  Fig.  16).  The 
two  wheels  must  be  squared  on  the  arbor,  and 
the  lifting  pins  need  only  be  shouldered  between 
them.  Perhaps  the  best  way  is  to  turn  a  piece 
of  brass  to  the  shape,  with  a  hole  through  the 
centre  to  fit  on  escape  arbors. 


tripping.  It  will  be 
seen  by  the  sketch  (see 
Fig.  18)  that  I  have  put  the  escape  wheel  and 
fly  outside  the  plates.  The  object  of  this  is  to 
give  more  room,  and  in  order  that  we  may  make 
the  fly  longer. 

One  thing  must  be  especially  attended  to, 
wherein  this  differs  from  other  escapements. 
The  heat  pins  must  on  no  account  he  touched  with 
oil  or  grease  of  any  kind,  for  the  slightest  adhesion 
to  the  pendulum  is  fatal. 

Care  should  also  be  taken  to  make  one 
pallet   begin   to    lift   simultaneously   with    the 


CHURCH    CLOCKS. 


597 


r   ro^)' 


IG.  21. 


FIC. 17. 

j  Full  Size. 


Stze 


DESCRIPTION    OF   FIGURES. 

FIG.  15.— "GRAHAM  "    OR    DEAD   BEAT  ESCAPEMENT. 

FIGS.    16  AND  17. — DOUBLE   THREE-LEGGED  ESCAPEMENT  ;   A  B  C,  ESCAPE    WHEEL  TEETH  t 

D    D    D,    LIFTING    PINS  I    E    E,    BEAT    PIN  ;   F    F,    STOPS  ;   G,    STUDS    TO    HOLD   PALLETS  ; 

H,  SUSPENSION  SPRING  ;    I,  COCK  TO  CARRY  PENDULUM  ;    K,  PENDULUM  ROD. 
FIG.    19. — THE    FLY;   A    A,    FLY    WINGS;    B    B,    BRASS    SPRING    TO    KEEP    FLY    AGAINST    THE 

COLLET  ;   C,  COLLET  OR  LOOSE  HOLLOW  ARBOR  TO  SUPPORT  WINGS. 
FIG.    20. — ENDS    OF    LEADING    OFF    RODS  ;     A  A  A,  PIVOTS    FOR    SLOT  ;   B,    SLOT  ;   C,  PIN   TO 

SECURE   PIVOT  ;    D,    LEADING   OFF   ROD. 
FIG.  21 — MODE  OF    FIXING;    A,    MINUTE    HAND;    B,    HOUR    HAND;    C,    DIAL;    D,    WALL; 

E,  IRON    BAR  ;   F,  HOUR    WHEEL  ;    G,  CANNON    PINION  ;  H,  MINUTE    WHEEL  ;   I,   PINION  ; 

J,  COUNTER  WEIGHT  FOR  HOUR  HAND  ;    K,  COUNTER  WEIGHT  FOR  MINUTE  HAND. 


resting  of   the  other,   and   neither   before   nor 
after. 

All  the  parts  are  made  very  light.  The 
wheels  are  of  very  hard  gun-metal,  German 
silver,  or,  better  still,  of  steel ;  a  piece  of  an  old 
saw  is  just  the  thing.  The  pallets  must  be  cut 
out  of  sheet-steel  about  |  inch  thick,  or  a  little 
less,  and  the  stops  made  as  hard  as  possible. 
The  fly  should  be  of  German  silver  or  steel,  and 
as  thin  as  paper  ;  in  fact,  as  light  as  it  is  pos- 
sible to  make  it. 


Every  part  of  this  escapement  must  be  well 
made,  and  I  have  drawn  it  one-third  full  size, 
so  that  you  will  have  no  difficulty  in  striking 
it  out ;  but  great  care  must  be  taken  to  make 
it  exact. 

The  same  pendulum  will  do,  but  it  will  have 
to  be  higher  up,  so  that  the  cock  must  be  farther 
from  the  frame.  In  calculating  this  train,  it 
must  be  treated  as  in  an  escape  wheel  of  three 
teeth,  so  that  we  shall  require  another  wheel 
and  pinion  that  will  multiply  it  by  ten,  making 


598 


CHURCH  CLOCKS. 


it — great,  160;  centre,  120;  pinion,  20;  third, 
110  ;  pinion,  18  ;  fourth,  70  ;  pinion,  10  ;  escape 
pin,  10.  It  will  be  seen  that  the  pendulum  is 
suspended  from  a  cock  secured  on  the  frame- 
work of  the  movement.  This  is  the  usual  way, 
but  not  the  best,  as  the  more  solid  it  is  fixed  the 
better  ;  and,  if  possible,  should  be  suspended 
from  brackets  built  into  the  wall  of  the  building. 
The  great  Westminster  clock  was  found  to  go 
much  better  when  fixed  this  way  than  when 
fixed  in  the  workshop,  in  what  appeared  the 
most  solid  built  up  framework  that  was  possible. 

Now,  having  got  our  clock  to  tick,  we  must 
see  about  the  dial  work.  I  will  assume  it  to 
have  one  illuminated  dial  of  6  feet  diameter.  It 
will  be  remembered  that  the  centre  wheel  arbor 
revolves  once  in  an  hour,  and  carries  the  minute 
or  long  hand.  But  in  a  very  few  cases  is  it 
possible  to  fix  it  near  enough  or  in  line  with  the 
centre  of  the  dial,  so  we  have  to  resort  to  a  kind 
of  carrier  (see  Fig.  20),  and  with  addition  of 
bevelled  wheels,  the  connecting  or  taking-off  rod 
is  made  of  hollow  f  brass  gas  tube.  Now,  sup- 
pose we  have  fixed  a  pair  of  these  carriers  on 
the  arbor,  and  the  dial  is  not  far  out  of  line,  we 
could  go  right  through  the  dial,  providing  the 
carrying-off  rod  was  perfectly  true,  which  it  is 
sure  not  to  be;  so  we  make  a  break  about  18 
inches  from  the  dial,  and  put  another  pair  of 
carriers  on.  As  we  shall  want  a  bearing  of  some 
sort,  we  put  a  flat  bar  of  iron,  2  inches  by  \  incb, 
across  the  opening  (see  Fig.  21),  and  on  this  bar 
we  fix  the  motion  wheels,  which  cause  the  hour 
hand  to  travel  at  a  speed  one-twelfth  that  of 
the  minute  hand. 

The  cannon  pinion,  of,  say,  18,  drives  the 
minute  wheel  of  54  teeth,  with  a  [pinion  of  16 
attached  to  it,  running  loosely  to  a  stud  fixed  to 
the  plate.  The  last-named  pinion  drives  the 
hour  wheel  of  64  teeth,  which  has  a  long  pipe, 
and  runs  loosely  on  the  arbor  of  the  cannon 
pinion,  to  which  is  attached  the  hour  hand. 

The  hands  are  best  made  of  copper,  and  must 
be  strong  enough  to  resist  the  wind  and  snow, 
and  must  be  as  light  as  possible  ;  if  made  hollow 
on  the  under  side,  with  little  bits  soldered  across, 
they  can  be  very  thin;  and  here  lies  an 
opportunity  to  exercise  your  patience  and 
ingenuity. 


The  dial  will  only  want  a  very  little  notice, 
although  it  is  not  so  easy  to  make  as  you  might 
at  first  think.  The  most  simple  way  is  to  get  a 
sheet  of  copper  (or  zinc,  if  money  is  scarce), 
make  a  hole  in  the  centre,  paint  black,  and  gild 
the  figures  with  gold-leaf.  A  better  way  is  to 
fret-saw  the  figures  out  of  £-inch  brass,  and 
solder  on;  or,  if  the  dial  is  to  be  illuminated, 
the  figures  and  circles  can  be  fret-sawn  out  of 
thin  metal,  and  cemented  to  a  piece  of  plate- 
glass,  which,  of  course,  must  have  a  hole  in  the 
centre,  and  which  can  be  drilled  with  a  steel 
drill  made  very  hot,  and  plunged  into  soldering 
fluid ;  that  is,  spirits  of  salts  killed  with  zinc. 
The  drill  must  be  kept  well  lubricated  with 
turpentine,  and,  if  possible,  used  under  water. 

If  you  really  want  to  make  a  first-class  dial, 
and  do  not  mind  the  work,  the  figures,  circles, 
and  corners  can  be  made  in  wood,  and  cast  in 
iron.  It  will  then  require  a  sheet  of  glass 
behind,  if  intended  to  be  illuminated  ;  and  if  the 
back  of  it  is  grooved  out  like  a  picture-frame,  it 
can  be  built  up  of  small  pieces  of  glass.  If  not 
to  be  illuminated,  it  can  be  secured  a  few  inches 
from  the  wall,  which  will  make  a  background 
for  it.  But  I  do  not  like  this  method,  as  it  is 
not  so  easy  to  distinguish  the  hands. 

In  making  the  hands,  they  should  be  counter- 
poised as  much  as  possible  on  the  outside,  and 
the  remainder  made  up  inside  by  lead  weights 
cast  on  steel  rods  (see  Fig.  21),  which  must  be 
behind  the  gas-burners,  or  they  will  throw  a 
shadow  on  the  dial — which,  I  am  sorry  to  say, 
is  a  fault  that  can  be  seen  in  most  illuminated 
dials  ;  and  in  fixing  the  gas,  care  should  be 
taken  to  obviate  this. 

It  will  be  seen  that  I  have  not  touched  on  the 
subject  of  striking  or  chiming ;  but  in  large 
clocks  this  department  is  put  in  separate  frames, 
and  is  quite  distinct  from  the  movement. 

In  conclusion,  I  wish  you  every  success  ;  and 
there  is  no  reason  why  you  should  not  succeed, 
as  some  of  the  finest  mechanism  in  the  world  is 
the  handiwork  of  amateur  workmen. 


A  good  Paste  is  made  by  soaking  flake 
tragacanth  in  sufficient  cold  water  so  that 
the  brush  will  not  sink  into  the  paste  when 
dissolved. — Scientific  American. 


FITMENTS  FOR  ROOMS. 


599 


FITMENTS  FOR  ROOMS. 

By  W.  P RID  AT. 

BEING-    THE    PRIZE    PAPEE     EN" 
COMPETITION   IT. 

2HEEE  are  few  minor  adjuncts  to  a 
house,  whether  from  an  ornamental 
or  utilitarian  point  of  view,  that  are 
more  serviceable  and  desirable  than  a  cabinet 
bookcase  fitted  in  the  recess  of  a  room.  "What 
an  agreeable  resting-place  for  the  eye,  when 
taking  in  survey  every  part  of  the  walls  of  a 
Toom,  to  see  the  middle  shelves  filled  with  well- 
bound  books,  and  the  sides  of  the  cabinet 
•adorned  with  beautiful  but  inexpensive  art 
pottery. 

Have  you,  my  reader,  when  visiting  a  friend's 
house,  not  been  struck  by  the  beauty  and  simply- 
designed  hanging  cabinets  and  corner  brackets, 
which,  in  the  pleasant  half -hour's  chat,  you 
learn  is  your  friend's  own  work.  It  is  here, 
then,  that  you  see  the  great  advantage  which 
amateur  work  has  over  professional  produc- 
tions. All  these  little  hanging  cabinets  and 
wall  brackets  have  been  designed,  made,  and 
fitted  in  their  respective  places,  which,  had  they 
been  ordered  or  bought  ready-made,  would  have 
■cost  a  great  deal  of  money.  Here,  in  the  recess 
at  each  side  of  the  fireplace,  we  see  fitted  up 
•cabinet  bookcases,  both  exactly  alike,  and  which, 
perhaps,  his  next  door  neighbour  would  not 
think  of  buying,  or  ordering  to  be  made,  on 
account  of  the  expense.  Here  it  has  readily 
been  made  by  the  owner  of  the  house,  simply 
because  he  is  an  amateur  woodworker.  How 
one's  friends  delight  to  stay  and  linger  over  each 
article,  to  inspect  it,  instead  of  turning  wearily 
away  from  well-known  and  common  articles 
of  furniture,  which  they  might  just  as  well 
have  seen  in  any  shop  window,  and  no  doubt 
have  already  seen  in  scores  of  other  houses. 
Instead  of  that,  their  eye  meets  at  every  turn 
some  daintily  carved  or  fretted  woodwork,  or 
perhaps  a  painted  panel  of  a  cabinet  door. 

In  Fig.  1  is  shown  a  recess  fitted  up  with  a 
cabinet  bookcase  and  a  settee.  As  recesses  vary 
in  different  houses,  the  length  and,  perhaps,  the 
height  of  the   above-mentioned  articles  must  be 


regulated  accordingly.  The  height  and  width 
of  a  recess  in  a  middle  class  house,  generally 
speaking,  is  10  feet  from  the  floor  to  the  ceiling, 
by  4  feet  wide,  and  from  12  to  14  inches  deep. 
Therefore,  in  making  our  cabinet  bookcase,  we 
can  either  make  it  so  that  the  front  comes  flush, 
or  nearly  so,  with  the  chimney  jamb,  or  we  need 
not  let  it  be  so  deep.  The  size  of  the  one  repre- 
sented in  the  drawing  is  4  feet  4  inches  high,  4 
feet  wide,  and  10  inches  deep.  This  cabinet 
bookcase  need  not  be  made  of  expensive  wood, 
as  one  made  of  deal,  when  stained,  varnished, 
painted,  or  ebonised,  will  not  look  amiss  if  the 
painter  finishes  his  work  well. 

In  the  first  place,  get  your  stuff,  which,  by  the 
way,  when  finished  should  all  be  of  a  thickness, 
namely,  f  inch  (the  two  sides  can  be  1  inch  thick 
if  preferred).  Eirst  saw  two  end  pieces,  same 
as  side  view,  Fig.  2,  4  feet  4  inches  long ;  two 
more  pieces,  3  feet  long,  for  the  centre.  At  one 
side  of  these  pieces  we  rebate  a  couple  of  grooves 
out  for  the  book-shelves  to  fit  in ;  do  not  cut  the 
groove  out  right  up  to  the  front,  but  leave  off 
1  inch  from  the  front.  Next  saw  two  shelves 
for  the  top  and  bottom,  the  length  of  which  you 
will  regulate  according  to  the  width  of  the  recess. 
When  sawn  out,  we  bead  the  front  edge  of  the 
pieces,  and  screw  the  two  side  pieces  to  the 
shelves,  as  shown  by  the  dotted  lines  in  the  side 
view  (Fig.  2).  Next  fix  the  upright  pieces  in 
the  inside,  and  letting  the  grooved  sides  face 
each  other,  screw  the  top  and  bottom  shelves 
to  these  uprights.  We  now  fit  our  cabinet  or 
china  shelves,  two  at  each  side  of  the  book- 
case ;  fix  in  their  respective  places  by  screwing 
between  the  side  piece  and  the  upright.  These 
china  shelves  should  be  in  a  line  with  the  grooves. 
The  front  of  the  pieces  should  be  flush  with  each 
other,  and  the  front  edges  should  all  be  beaded. 
Next  saw  out  the  book  shelves.  These  slide  in 
the  grooves  from  the  back ;  a  very  little  will 
have  to  be  sawn  off  the  two  front  ends,  to  allow 
the  shelf  to  come  flush  with  the  side,  or  it  can 
be  left  1  inch  deeper  in  than  the  china  shelves, 
thus  allowing  a  glazed  door  to  be  fixed,  which, 
when  finished,  will  be  flush  with  the  rest  of  the 
work.  Next  saw  out  the  corner  brackets  of  hard 
wood ;  commence  by  drawing  a  good  pattern, 
then  saw  it  out.     "When  finished,  mark  and  saw 


600 


FITMENTS  FOR  ROOMS. 


F1C.1. 

Treatment  cl'a  Recess. 


F!  C.5. 

Treatment  of  Co.-r^ 


out  all  the  others  by  means  of  this  pattern,  so 
that  they  will  all  be  alike.  Bore  the  hole  in  the 
centre  of  the  bracket  with  a  3-inch  bit,   then 


chamfer  the  front  outside  edge  off.  Fix  the- 
corner  brackets  in  the  angle  with  a  little  glue 
and  a  couple  of  long  thin  panel  pins.     Next  saw 


FITMENTS  FOR   ROOMS. 


601 


V 


the 


out  the  bottom  plate  shelf, 
4  inches  wide,  fit  it  be- 
tween the  sides,  and  screw 
sides  to  it.     Now  fix  the 


balustrade  at  the  top,  procur- 
ing, first,  a  piece  of  deal  and 
planing  it  up  square  \  inch 
full,  running  a  bead  down  the 
centre  of  three  sides  ;  saw  this 
stick  into  equal  lengths  of  1\ 
or  3  inches.  "When  two  dozen 
have  been  sawn  off,  get  just 
such  another  rail,  with  the  ex- 
ception of  only  having  one 
bead  at  the  front.  Now  fix 
the  railing,  as  shown  in  Fig.  1 
(front  view).  The  square  spin- 
dles are  fixed  in  their  places 
2  inches  apart,  the  ends  being 
dipped  in  glue  before  fixing,  and  are 
further  secured  by  driving  a  thin  wire 
nail  through  the  top  rail  into  every 
spindle,  A  nail  is  also  driven  through 
the  top  shelf  into  the  spindles.  Serve 
the  bottom  railing  on  the  plate  shelf 
under  the  bookcase  in  exactly  the  same 
manner  as  the  top,  with  the  exception 
of  the  spindles  being  reversed.  In  the 
bottom  rail  the  spindles  are  placed  hori- 
zontal, and  in  the  top  they  are  perpen- 
dicular ;  therefore,  the  spindles  will  only 
be  1|  inches  long,  J  inch  square.  The 
back  of  this  cabinet  bookcase  requires  a 
few  brass  plates  to  screw  to  the  wall, 
and  when  painted  it 
can  be  fixed  in  the 
recess.  There  is  no 
wood  back  fixed  to 
the  cabinet  bookcase ; 
therefore  we  back 
those  parts  which  are 
seen  with  Japanese 
gold  leather  paper,  or 
failing  to  procure  this, 
any  good  wall  paper 
with  gold  in  it  will  do,  or  embossed  plush  looks 
very  rich,  though  expensive. 

To  paste  cloth  to  the  back,  make  a  paste  of 
water,  resin,  glue,  and  flour,  boil  in   a  small 


2. — SIDE  VIEW  OF   RECESS 
FITTINGS. 


saucepan  until  it  thickens  into  a  paste  ;  this  can 
be  used  warm  or  cold. 

We  next  make  our  settee,  or  couch-chair.  In 
Fig.  2  you  see  that  it  is  covered  all  over,  with 
the  exception  of  the  top  railing  and  the  two 
back  upright  pieces  and  a  very  little  of  the  front 
legs,  at  the  bottom  only.  The  height  of  the 
settee  is  3  feet  4  inches  over  all ;  the  front  legs 
are  V&\  inches  high,  measuring  across  the  depth 
of  the  seat  outside  ;  the  distance  from  the  front 
leg  to  the  upright  is  2  feet ;  the  width  of  the 
seat,  as  I  have  said  before,  will  be  regulated 
according  to  the  recess.  Those  parts  of  the 
settee  which  are  not  seen,  even  the  front  legs, 
can  be  made  of  deal.  The  two  uprights  are  \\ 
inches  square,  and  the  front  legs  are  2  inches 
square ;  the  top  railing  and  the  spindles  are  1 
inch  square ;  the  rest  of  the  framework  of  the 
settee  is  \\  by  2  inches.  The  back  and  the  bottom 
of  the  settee  can  be  boarded  with  J-inch  thick 
deal,  or  strong  webbing  interlaced  and  stretched 
and  nailed  firmly  down  with  flat-headed  nails, 
and  the  framing  of  the  back  should  have  a  few 
rails  covered  with  canvas,  as  a  support  to  the 
stuffing.  The  outside  of  the  settee  being  covered 
with  canvas,  the  stuffing  may  be  proceeded  with. 
A  good  material  for  this  purpose  is  old  hay, 
which  is  largely  used  in  the  commoner  kinds  of 
upholstered  goods  by  furniture  makers  ;  place 
upon  this  a  layer  of  cotton  flock.  In  stuffing, 
you  cannot  use  too  much,  but  should  ram  it  irt 
as  tight  and  as  full  as  you  possibly  can,  or  other- 
wise great  disappointment  will  arise  by  the 
settlement  when  the  settee  has  been  in  use  a 
while,  and  by  the  consolidation  of  the  material 
under  the  weight  and  pressure  of  the  body. 

When  all  has  been  canvassed  over,  the  outer 
covering,  of  whatsoever  material  you  may  choose, 
whether  it  be  carpet,  plush,  or  cretonne,  in  the 
new  art  colour  and  patterns,  should  be  stretched 
on  tightly,  then  tacked.  A  valance  is  also  cut 
out  and  tacked  to  the  seat.  The  bottom  of  this 
valance  will  have  fringe  with  bobs  sewn  to  it, 
and  a  finish  is  given  to  the  whole  by  pinning 
with  small  black  pins  (used  by  upholsterers), 
gimp,  or  by  sewing  lace  all  round  at  the  edges. 
This  gimp  also  hides  the  tack  heads,  and  gives 
a  better  finish.  A  couple  of  the  new  art  pilluws  or 
cushions  are  placed  against  the  wall  at  each  end 


602 


GASFITTING   FOR  AMATEURS. 


of  the  seat ;  thus  we  can  dispense  with  elbows 
to  our  settee.  Both  the  recesses  in  the  room 
should  be  fitted  up  exactly  alike. 

We  now  come  to  the  fitting  up  of  the  corner. 
Fig.  3  shows  an  open  corner  cupboard,  1\  feet 
long  by  1 8  inches  wide  over  all.  The  two  side 
pieces  are  planed,  and  the  ends  mitred,  to  allow 
them  to  fit  in  the  angle  of  the  wall ;  that  done, 
fit  the  shelves,  bead  the  front  edge,  and  screw 
the  two  side  pieces  to  the  shelves.  Then  saw 
out  and  fix  the  corner  brackets  and  the  top 
rail,  as  shown  in  making  the  cabinet-bookcase. 
Fig.  4  is  so  simple  of  construction,  that  it  would 
be  superfluous  for  me  to  comment  upon  it. 
Suffice  it  to  say  that  the  front  can  be  sawn  out  in 
thick  fretwork,  and  fastened  to  a  corner  shelf ,  or 
it  can  be  made  in  the  same  way  as  the  other  rail. 

Fig.  5  shows  a  corner  chair,  the  same  design, 
and  in  keeping  with  the  rest  of  the  above- 
mentioned  articles.  The  three  uprights  and  the 
leg  will  be  1  \  inches  square  when  finished  ;  the 
seat  frame  rails  are  2  by  1}  inches,  the  spindle 
bars  crossed  under  1  \  inches,  \  inch  thick  ;  the 
top  and  bottom  rails  and  the  spindles  are  1  inch 
thick ;  the  seat  is  14  inches  square,  the  height  from 
the  floor  to  the  top  of  the  seat  is  16  inches,  from 
the  top  of  the  uprights  to  the  floor  it  is  2  feet 
8  inches.  If  a  corner  chair  is  not  needed,  a 
three-legged  corner  table  or  lamp  stand  can  be 
substituted ;  but  from  the  above-mentioned 
articles  the  amateur  is  sure  to  pick  out  some- 
thing in  the  way  of  fittings  which  will  meet  his 
requirements. 


GASFITTING  FOR  AMATEURS. 

By  F.  A.  TOWNSEND. 


II.— Boring  with  Bell-bit — Supports  for  Pipe  under 
Floor— Cutting  Hole  in  Pipe — Pipe-tongs— Gas- 
pliers — Screw-plate — Tube-cutters — Cork  Slide 
Pendant— Testing  for  Escape— Conclusion. 

F  the  worker  intends  to  fit  up  a  house 
with  two  or  more  lights  downstairs, 
and  a  similar  number  of  bracket 
lights  in  the  bedrooms,  he  must  begin  from  the 
meter,  as  shown  in  Fig.  24,  carrying  the  pipe  up, 
using  i  inch  tube  where  there  are  more  than 
two  lights  to  be  fed;  then  strike  off  at  a,  and  carry 
a  piece  of  §  pipe  to  b,  and  solder  a  piece  of  f 


copper  tube  into  the  end,  as  shown  ;  screw  the 
pendant  to  a  piece  of  wood,  similar  to  Fig.  28, 
nailed  on  to  the  joist.  If  the  position  of  the 
pendant  brings  it  about  midway  between  the 
joists,  a  piece  of  wood,  like  Fig.  26,  may  be 
used  to  bridge  the  joists  ;  two  small  strips  should 
be  nailed  on  the  joist,  and  then  two  pieces  cut 
from  the  end  of  Fig.  26,  so  that  the  pendant  will 
lodge  on  the  strips;  it  should  then  be  skew- 
nailed  to  the  joist.  The  best  way  to  find  the 
proper  board  to  take  up  is  to  bore  a  hole  through 
the  ceiling  below,  and  through  the  floor  boards, 
with  what  is  usually  called  a  bell-bit,  viz.,  a  long 
gimlet,  like  Fig.  27.  Fig.  29  shows  copper  inlet 
for  pendant,  and  Fig.  30  the  brazed  elbow  for 
bracket.  Fig.  31  shows  two  strips  of  wood 
nailed  together  to  support  the  pipe  which  runs 
under  the  boards ;  it  is  best  to  pass  these  under 
the  boards,  and  nail  them  together  afterwards ; 
if  nailed  before,  they  are  often  difficult  to  get 
under  the  board.  "When  they  are  under,  and 
nailed  together,  then  nail  them  at  each  end 
under  the  pipe ;  this  keeps  the  pipe  well  up  to 
the  floor  boards,  and  level,  and  prevents  water 
lodging  there  in  cold  weather.  If  the  worker 
has  to  connect  the  outlet  of  meter,  he  must  take 
the  outlet  off,  and  prepare  the  joints  as  shown 
at  Fig.  32,  and  stop  the  outlet  of  meter  up  with 
cork  or  a  bit  of  wasto  ;  to  prevent  accident,  then 
solder  the  joint,  and  take  the  plug  out  of  outlet, 
and  put  a  leather  washer  on  the  union ;  he  must 
now  screw  it  down.  If  the  worker  should  have 
occasion  to  solder  a  union  like  the  outlet  or 
inlet  of  meter  into  a  piece  of  compo  or  lead  pipe, 
he  will  find  that  a  piece  of  wire,  bent  like 
Fig.  33,  is  very  useful ;  it  will  hold  the  fitting  in 
position,  and  keep  it  straight  while  it  is  being 
soldered  into  pipe. 

Fig.  34  shows  a  meter  connected.  The  worker 
must  not  at  any  time  interfere  with  or  disconnect 
this  inlet,  as  gas  companies  and  corporations  do 
not  allow  any  but  their  own  men  to  do  anything 
on  their  side  of  the  meter.  If  the  house  is  fitted 
up  with  "iron  tube,"  and  extra  lights  or  a  light 
is  wanted,  it  will  be  necessary  either  to  cut  or 
drill  a  hole  into  the  main  supply,  to  run  the 
light  from.  There  are  two  ways  of  doing  this  : 
either  to  cut  the  hole  with  a  cutting-punch,  like 
Fig.  35,  or  drill  with  a  ratchet  brace  ;  if  it  is 


GASFITTING   FOR   AMATEURS. 


603 


604 


GASFITTING  FOR  AMATEURS. 


cut  out  with  a  punch,  it  is  best  to  get  a  person  to 
hold  a  good-sized  weight  under  the  pipe  while 
it  is  being  cut.  When  the  hole  is  cut  in  the 
pipe,  tap  out  with  tap  and  wrench. 

Figs.  36  and  37  show  plug  and  taper  tap  ; 
Fig.  38  is  a  tapping  wrench ;  a  single-ended 
wrench  will  also  be  found  very  useful,  as  a 
double-ended  one  cannot  always  be  used. 

Having  tapped  the  hole  in  pipe,  connect  it  by 
using  a  union  like  Figs.  39  and  40,  which  are 
two  parts  of  one ;  screw  Fig.  40  into  the  hole 
cut  in  main  supply,  and  Fig.  39  on  to  the  branch 
pipe.  It  can  then  be  connected  whenever  wanted. 

Fig.  41  is  a  pair  of  pipe-tongs ;  Fig.  42  are 
gas-pliers.  It  is  never  advisable  to  use  pipe 
larger  than  \  inch  for  single  lights  where  iron  is 
used.  If  the  worker  cannot  get  the  use  of 
screwing  tackle  for  iron  pipe,  a  very  good  sub- 
stitute may  be  made  for  §■  and  \  inch  brass  fine 
thread  by  making  a  screw-plate  from  an  old 
file  (Fig.  43) ;  and  this  shape  of  screw-plate  will 
be  found  very  superior  to  the  old-fashioned  way 
of  making  screw-plates,  viz.,  with  two  clearance 
holes.  The  old-shaped  plate  used  to  grind  the 
thread  off.  A  plate  made  the  shape  of  Fig.  43 
cuts  it  off,  and  when  the  cutting  edges  get  dull 
from  wear,  they  can  be  sharpened  by  holding 
ou  the  corner  of  a  grindstone.  A  good  sub- 
stitute for  stocks  and  dies  for  \  or  f  inch  iron 
pipe  may  be  made  like  Fig.  44  ;  the  middle  of 
the  die,  a,  should  be  about  \  inch  thick ;  if 
\  inch  thick,  the  better  for  clearance  ;  c  o  c  o 
should  be  drilled  in,  and  then  the  thread  backed 
off,  so  as  to  leave  about  four  full  threads. 
Having  cut  the  hole  in  main  supply,  connect  the 
pipe,  and  bring  the  pipe  at  back  of  slnrting- 
board,  using  a  bend  (Fig.  45)  for  this  purpose ; 
then  cut  and  screw  a  piece  to  run  from  bend  up 
to  where  the  wall  is  plugged,  and  screw  an  elbow 
on,  similar  to  Fig.  46,  or  an  elbow  with  a 
nipple,  similar  to  Fig.  47.  Fig.  48  is  a 
nipple.  H  it  is  necessary  to  cut  the  pipe, 
as  is  sometimes  done,  a  pair  of  tube  cutters  is 
the  best ;  but  failing  to  get  tube  cutters,  use  a 
diamond-pointed  tool  like  Fig.  49,  and  get  some 
one  to  hold  a  weight  under  the  pipe  while  it  is 
being  cut.  Having  cut  the  pipe, screw  both  ends, 
and  put  a  T  piece  in,  like  Fig.  50  ;  the  pipe  may 
then  be  reconnected  by  using  what  is  sometimes 


called  a  connecting  piece,  and  sometimes  by  a 
long  screw,  like  Fig.  51. 

Fig.  52  is  the  socket,  and  Fig.  53  the  back  nut. 
Fig.  54  is  an  elbow,  and  Fig.  55  a  bend.  Fig.  56 
is  a  cross-piece,  Fig.  57  is  a  connecting  piece 
from  outlet  of  meter  to  the  supply  pipe,  which  is 
compo,  with  a  socket  soldered  on  to  connect  the 
iron  pipe  and  meter  outlet.  When  soldering  a 
straight  drop  screw  into  compo  pipe,  it  may  be 
kept  straight  by  dropping  a  gimlet  down,  as 
shown  by  Fig.  58. 

Fig.  59  is  a  clamp  for  screwing  iron  pipe  in.  It 
holds  better  than  the  jaws  of  a  vice  alone,  but 
is  not  necessary  for  one  job  only.  Fig.  60  is 
another  form  of  clamp  for  the  same  purpose. 
Fig.  61  shows  the  shape  of  its  jaw.  It  is  not 
necessary  for  me  to  give  minute  instruction  for 
fitting  up  a  house  with  iron  pipe,  inasmuch  as 
the  process  differs  but  little  from  compo  work.  . 
The  shape  of  the  fittings  I  have  given  will  indi- 
cate their  uses.  However,  in  fitting  up  a  house 
with  iron  tube,  where  the  floor  boards  are  down, 
it  may  occur  that  the  worker  has  some  difficulty 
in  getting  the  iron  pipe  in  long  lengths  under 
the  boards.  When  this  is  the  case,  the  pipe 
must  be  got  under  in  short  lengths,  and  screwed 
together  while  under  the  boards,  taking  care  to 
white-lead  every  joint. 

Fig.  62  shows  a  cork  slide  pendant.  These 
very  often  become  leaky  from  wear.  When  this 
occurs,  unscrew  the  cap,  a  (Fig.  62),  and  take 
the  slide  out ;  take  the  old  cork  off,  bore  a  new 
one  with  gimlet ;  screw  on  to  Fig.  63,  and  then 
file  it  down  until  it  is  a  good  fit,  into  Fig.  62. 
A  small  nut  should  be  screwed  on  a  (Fig.  63), 
to  keep  the  cork  from  working  off.  Fig.  64  is 
a  burner  elbow  ;  Fig.  65  is  a  glass  holder ;  Fig. 
66  is  a  screw  for  ditto. 

If  more  than  four  lights  are  put  into  a  house, 
it  is  advisable  to  use  f -inch  pipe.  After  a  house 
is  fitted,  or  only  an  additional  light  put  in,  it  is 
advisable  to  turn  on  full  at  the  meter,  and  blow 
the  air  out  of  the  pipes  ;  then  light  them,  and 
turn  off  the  taps ;  then,  while  it  is  still  full  on 
at  the  meter,  carefully  test  every  joint  with  a 
candle,  so  as  to  leave  no  escapes.  If  at  any  time 
after  the  floor  boards  are  down  there  is  any 
reason  to  suspect  escape,  it  can  be  found,  if  such 
exist,  by  testing  the  meter.    On  every  meter,  wet 


HOW  TO  MAKE  AN  ELECTRIC  FIRE  ENGINE. 


605 


or  dry,  there  is  a  test  dial  which,  indicates  single 
feet  to  find  if  escapes  exist.  Turn  the  gas  on 
full  at  meter,  but  turn  off  at  all  the  fittings. 
Then  -watch  the  test  dial  for  about  fifteen  or 
twenty  minutes,  and  if  any  escape  exists,  it  will 
be  shown  by  the  index  finger  having  moved. 
The  exact  locality  of  the  escape  can  be  best 
found  by  the  nose.  Bear  this  caution  in  mind. 
Never  test  for  escape  under  floor  board  with  a 
light,  especially  if  gas  has  been  escaping  and 
accumulated  there.  The  best  way  is  to  take  up 
the  floor  boards,  turn  gas  off  at  the  meter,  and 
wait  for  an  hour  until  all  the  gas  has  dispersed. 
The  gas  may  then  be  turned  on  again,  and 
escape  tested  for. 

If  the  worker  put  up  a  water-slide  chandelier, 
it  should  be  looked  to  every  six  weeks  or  two 
months,  and  the  slide  filled  up  with  water ;  and 
in  the  summer,  when  not  used,  it  is  well  to  look 
to  them  occasionally. 

I  have  previously  given  instructions  for 
making  soft  solder  for  blow-pipe  and  other  work, 
but  as  there  may  be  some  who  have  not  seen 
them,  I  will  repeat.  2  parts  lead,  2  \  parts 
grain  or  bar  tin  (if  not  fine  enough,  add  more 
tin).  Flux  for  soft  solder,  rosin,  or  rosin  melted 
in  sweet  oil. 


HOW    TO    MAKE 

AN    ELECTRIC    FIRE    ENGINE. 

By  ROBERT  W.  COLE. 


HE  toy  which  we  are  about  to  describe 
resembles  in  its  action  an  ordinary 
steam  fire  engine,  with  the  exception 
that  electricity  is  used  instead  of  steam  power. 
Its  side  view  is  represented  by  Eig.  1 ;  a  a  is  a 
kind  of  framework,  on  to  which  the  various 
pieces  of  mechanism  are  fixed ;  b  b  are  the 
wheels  on  which  the  fire  engine  runs,  c  is  one  of 
the  binding  screws  to  which  wires  conveying 
the  electric  current  are  fixed,  and  d  is  the  elec- 
tric motor,  of  which  one  of  the  ends  of  the  axis 
projects  outside  the  support,  p,  and  consists  of 
pinion  wire.  A  cogwheel,  e,  is  pivoted  outside 
the  support,  and  presses  against  the  end  of  the 
axis  of  the  motor,  so  that  when  the  motor  rotates 
it  rotates  also.    A  small  brass  rod,  h,  is  fastened 


at  one  end  on  to  the  side  of  the  cogwheel,  with 
a  small  screw  ;  and  the  other  end  is  fastened  to 
the  rod,  q,  which  belongs  to  the  force  pump,  G. 
The  rod,  q,  slides  between  small  guides,  i,  con- 
structed of  wood  or  metal.  A  pipe,  k,  proceeds 
from  one  end  of  the  force  pump,  and  goes  under- 
neath the  framework,  where  its  end  is  bent  up 
so  that  it  can  be  connected  to  a  small  india- 
rubber  tube,  which  connects  it  with  the  water 
trough,  wherever  that  may  be  placed.  Another 
pipe  leads  from  the  force  pump  to  the  air 
chamber,  r,  at  the  top  of  which  is  the  pipe 
through  which  the  water  is  ejected.  A  seat,  m, 
for  the  driver  is  placed  at  the  front  part  of  the 
fire  engine  ;  and  underneath  it  is  the  pole,  J,  to 
which  the  horses  are  attached.  Under  the  side 
of  the  fire  engine,  and  between  the  wheels,  some 
buckets,  Li,  are  suspended. 

Fig.  2  is  a  ground  plan  of  the  fire  engine,  the 
parts  being  denoted  by  the  same  letters  as  in 
Fig.  1.  The  action  of  the  electro-motor  in 
pumping  the  water  is  very  simple.  When  it 
rotates,  the  cogwheel  rotates  also,  and  gives  a 
reciprocating  motion  to  the  connecting  rod,  h 
and  the  pump  rod,  which  is  connected  to  it, 
which  reciprocating  motion  causes  the  pump  to 
draw  water  through  the  pipe,  k,  send  it  into  the 
air  chamber,  f,  and  eject  it  through  the  india- 
rubber  tube  into  the  air. 

Having  gone  through  this  preliminary 
explanation,  we  will  now  commence  the  con- 
struction of  the  fire  engine — the  extreme  length 
of  which,  by  the  way,  is  about  18  inches — with 
the  formation  of  the  framework.  This  is  simply 
a  plain  piece  of  mahogany,  oak,  or  deal,  about 
£  inch  or  \  inch  thick,  18  inches  long,  and  8 
inches  wide.  Neatly  round  off  both  of  the  sides 
and  the  front  end,  and  bevel  off  the  back  end  in 
the  manner  shown  in  Fig.  1 .  Next  prepare  four 
wheels — two  large  ones  and  two  small  ones — to 
support  the  framework ;  these  may  be  of  wood 
turned  on  a  lathe,  or  of  brass  ;  those  which  are 
used  for  model  engines,  with  the  flange  cut  off, 
being  very  suitable,  or  they  may  be  made  in  the 
shape  of  ordinary  cart  wheels.  H  you  adopt 
the  latter  method  of  procedure,  you  will  find 
ample  instruction  for  making  cart  wheels  in  a 
series  of  papers  which  has  recently  appeared  in 
Amateub  Work.  Whatever  may  be  the  shape 
vol.  in.  (n.s.) — 3  B 


606 


HOW  TO  MAKE  AN  ELECTRIC  FIRE  ENGINE. 


FlO.'r. 


of  the  wheels,  the  larger  pair  must  be  6  inches, 
and  the  smaller  pair  Z\  inches  in  diameter,  and 
small  holes  should  be  drilled  through  their 
centres,  by  means  of  which  they  are  fastened  on 
to  the  framework  of  the  engine.  Then  fasten  a 
piece  of  wood,  1  inch  wide  and  8  inches  long,  on 
the  lower  side  of  the  piece  of  oak,  and  about  4 
inches  from  one  end.  Next  prepare  an  iron  rod 
10  inches  long  and  J  inch  in  diameter,  and  turn 
down  each  of  its  ends  for  \  inch  in  length,  and  cut 
screws  on  them.  Bore  a  hole  J  inch  in  diameter 
right  through  the  piece  of  wood  which  you  have 
fastened  underneath  the  framework,  hammer 
the  iron  rod  into  this  hole  so  that  the  two  ends 
project  equally,  and  fix  it  firmly.     Then  prepare 


W7 


FIO.9. 


n  c.s. 


a  similar  piece  of  wood  and  iron  rod  for  the  fron 
pair  of  wheels,  and  fit  them  under  the  front  of 
the  framework  in  a  similar  manner.  If  you  par- 
ticularly wish  it,  you  can  easily  make  the  front 
pair  of  wheels  swivel  round  after  the  manner  of 
cart  wheels.  Fig.  3  shows  the  manner  in  which 
this  may  be  done,  a  is  a  piece  of  thick  wood 
4  inches  square,  b  is  a  similar  piece  \  inch  thick, 
and  c  is  the  piece  of  wood  to  which  the  iron  rod 
is  fixed.  The  piece  of  wood,  a,  is  fixed  under- 
neath the  framework,  has  a  hole  2  inches  square 
cut  in  its  upper  side,  and  a  small  hole,  J  inch  in 
diameter,  running  through  its  centre.  The  thick- 
ness of  a  must  be  such  that  when  the  whole 
arrangement  is  fitted  into  its  place,  the  wheels 


HOW  TO   MAKE  AN  ELECTRIC  FIRE   ENGINE. 


607 


just  touch  the  ground.  A  piece  of  brass  rod,  d, 
having  a  nut  at  both  ends,  fixes  A  and  b  together, 
and  when  the  upper  nut  is  screwed  up  tight 
enough  to  allow  them  to  slide  over  one  another 
easily,  a  little  melted  solder  is  dropped  on  to  it 
to  prevent  it  from  unscrewing  itself.  Prepare 
four  nuts  to  fit  on  to  the  ends  of  the  axles,  fit 
the  wheels  in  their  places,  and  secure  them  by 
screwing  the  nuts  up. 

We  will  now  fit  the  electro-motor  into  its 
place ;  this  you  can  either  buy  ready  made,  or 
you  can  make  it  yourself,  and,  as  has  been  pre- 
viously stated,  it  should  have  its  axis  made  of 
pinion  wire.  The  method  of  fixing  it  to  the 
framework  is  shown  in  Fig.  4,  where  a  is  the 
motor,  b  its  axis,  c  g  the  supports,  which  are 
made  of  wood,  and  furnished  with  brass  bear- 
ings ;  f  the  cogwheel,  and  d  the  framework. 
The  front  pair  of  wheels,  and  the  arrangement 
for  fitting  them  on  to  d,  are  represented  by  e. 
The  cogwheel  is  fitted  on  to  the  supports  by  a 
brass  arrangement,  which  is  represented  by 
Fig.  5.  This  consists  of  a  piece  of  brass  about 
'2\  inches  long,  which  is  thicker  than  the  rest  at 
its  centre  for  about  \  inch  in  length,  and  has 
screws  cut  for  a  short  distance  at  each  end.  One 
of  these  ends  is  inserted  into  a  hole  drilled  in 
the  right  place  in  the  side  of  one  of  the  sup- 
ports, and  a  nut  fixed  on  to  that  end  firmly 
fastens  it  in  its  place.  The  cogwheel  is  placed 
on  the  other  end,  and  secured  by  another  nut. 
Before  securing  the  cogwheel  in  its  place,  a  hole 
should  be  drilled  and  tapped  in  its  side,  about 
i  inch  from  its  centre,  and  a  screw  made  to  fit 
into  this  hole.  "We  will  now  leave  the  motor  for 
a  while,  and  turn  our  attention  to  the  pump. 
This  is  an  ordinary  force  pump,  and  you  can 
either  make  it  yourself,  or  buy  one  at  the  shop 
of  a  dealer  in  model  engines.  If  you  adopt  the 
former  method,  there  will  be  no  need  for  me  to 
give  directions  for  its  construction,  as  the  matter 
has  already  been  treated  upon  by  previous 
writers.  If  you  buy  the  pump,  its  shape  will  be 
something  like  that  represented  by  Fig.  6.  It 
consists  of  two  barrels,  a  long  one  and  a  short  one, 
placed  side  by  side  ;  the  long  one  having  a  small 
hole  at  the  end  which  is  farthest  from  the  piston 
rod,  and  the  short  one  having  a  hole  at  the  other 
end.   About  2  inches  from  the  end  of  the  frame- 


work fasten  a  piece  of  wood,  about  3  inches 
wide,  3  inches  long,  and  of  such  a  thickness  that 
when  placed  upon  the  top  of  the  framework,  with 
the  pump  resting  upon  it,  the  piston  rod  of  the 
pump  is  level  with  the  centre  of  the  cogwheel 
(e,  Fig.  1).  Then  screw  the  pump  on  to  this 
piece  of  wood  with  screws  passed  through  the 
two  flanges  which  project  from  its  side  (see 
Fig.  6). 

The  guide  for  the  piston  rod  is  simply  a  piece 
of  stout  brass,  having  a  hole  large  enough  for 
the  piston  rod  to  pass  through  its  centre,  and 
one  of  the  ends  turned  up,  so  that  it  can  be 
fastened  down,  by  screws  passed  through  it,  in 
the  position  shown  in  Fig.  1 . 

The  pipes  which  connect  the  pump  with  the 
air-chamber  and  water-trough  must  next  be 
fastened  on  to  it.  Both  these  pipes  are  J  inch  in 
diameter,  and  may  be  brass  tubes,  such  as  are 
used  in  model  engines.  The  pipe,  k  (see Fig.  1), 
travels  along  the  piece  of  wood,  to  which  the 
pipe  is  fixed,  and  then  descends  underneath  the 
car,  and  the  end  of  it  is  bent  outwards,  so  that 
a  piece  of  india-rubber  tube  can  be  connected  to 
it.  The  pipe  which  connects  the  pump  with  the 
reservoir  passes  from  the  short  barrel  on  to  the 
framework,  and  runs  along  it  for  about  2  inches 
from  the  piece  of  wood  to  which  the  pump  is 
fixed,  and  then  passes  into  £he  air-chamber, 
which  we  will  now  proceed  to  make. 

This  is  a  piece  of  brass  tube,  which  has  both 
of  its  ends  stopped  up  with  pieces  of  sheet-brass. 
The  piece  of  brass  which  covers  up  the  upper 
end  slightly  overlaps  it,  and  has  a  hole,  J  inch 
in  diameter,  drilled  in  its  centre.  The  other 
piece  of  brass  is  3  inches  in  diameter,  has 
four  holes  drilled  through  it  near  its  circum- 
ference, and  has  the  brass  tube  fastened  in  its 
centre.  A  piece  of  brass  tube,  £  inch  in  diameter, 
is  inserted  into  the  hole  in  the  uppermost  piece 
of  brass,  and  is  fixed  so  that  its  upper  end 
projects  about  1  inch  above  the  brass  tube,  and 
its  lower  end  nearly  touches  the  bottom.  A  hole, 
\  inch  in  diameter,  is  drilled  in  the  side  of  the 
chamber,  near  its  lower  extremity,  and  the  tube 
which  proceeds  from  the  pump  is  fastened  into 
it.  The  chamber  is  then  screwed  down  on  to 
the  framework,  in  a  position  shown  by  f  in 
Fig.  2,  by  means  of  screws.     Fig.  7  shows  the 


608 


THREE   DESIGNS  FOR   FRET-WORKERS. 


various  parts  of  the  chamber,  the  brass  tube 
being  denoted  by  a,  the  upper  and  lower  pieces 
of  brass  by  e  and  c,  the  tube  from  the  pump  by 
d,  and  the  tube  which  is  fastened  on  to  e  by  b. 

We  must  now  connect  the  motor  with  the 
pump.  Turn  the  cogwheel  round  until  the  hole 
which  you  drilled  through  it  is  in  its  lowest 
position,  and  pull  the  piston  rod  of  the  pump 
out  until  the  piston  is  in  the  middle  of  the 
pump  ;  then  measure  the  exact  distance  between 
the  hole  in  the  cogwheel  and  the  end  of  the 
piston  rod.  When  they  are  placed  in  this 
position,  get  a  piece  of  stout  brass,  and  bore  two 
holes  in  it,  at  a  distance  apart  about  \  inch 
greater  than  this  distance,  and  loosely  rivet  it  to 
the  cogwheel  and  piston  rod ;  this  piece  of  brass 
should  be  shaped  as  represented  in  Fig.  8,  and 
its  edges  should  be  filed  smooth. 

When  you  have  done  this,  make  the  pole. 
The  shape  of  this  and  the  method  of  fixing  it 
are  represented  in  Fig.  2.  It  consists  simply  of 
a  round  piece  of  wood,  nearly  as  long  as  the  fire 
engine  is,  and  tapering  slightly  at  its  front 
end.  In  order  to  fix  it  on  to  the  fire  engine, 
two  small  pieces  of  wood  are  glued  on  to  the 
framework,  and  small  holes  are  bored  through 
them ;  a  stiff  piece  of  wire  is  inserted  through 
these  holes,  and  made  to  extend  from  one  piece 
of  wood  to  the  other,  its  ends  being  secured  by 
small  nuts.  A  brass  arrangement,  depicted  in 
Fig.  2,  is  fixed  on  to  the  end  of  the  pole,  and 
made  to  slide  along  the  brass  wire.  A  portion 
of  the  pole,  and  the  method  of  fixing  it,  are 
shown  in  Fig.  9,  where  a  is  the  pole,  b  the  front 
part  of  the  framework,  d  the  piece  of  wire,  c  c 
the  two  pieces  of  wood,  and  a  the  brass  arrange- 
ment which  fixes  the  pole  onto  d.  Now  fix  two 
binding  screws  on  to  the  end  of  the  framework, 
in  the  position  shown  in  Figs.  1  and  2,  and  lead 
wires  from  them  to  the  two  terminals  of  the 
electro-motor,  and  the  principal  construction  of 
the  fire  engine  will  be  complete. 

There  are  a  few  minor  details  which  now 
demand  our  attention.  Fix  two  hooks  on  each 
side  of  the  underneath  part  of  the  framework, 
and  suspend  a  small  tin  pail  from  each  of 
them.  The  pails  you  can  get  at  a  toy-shop,  or 
if  you  are  skilful  in  sheet-metal  work,  you  can 
make  them  yourself.     A  metal  ladder,  made  by 


soldering  short  pieces  of  brass  wire  of  equal 
length  between  two  longer  pieces,  should  also 
be  suspended  by  hooks  underneath  the  frame- 
work. The  seat  for  the  driver  can  be  made  of 
metal  or  wood  ;  if  made  of  the  former  material, 
its  lower  edges  should  be  turned  up,  so  that  it 
can  be  fastened  down  by  screws  passed  through 
them ;  but  if  made  of  the  former,  it  should 
be  glued  down.  Add  any  more  furniture  to 
the  seat  that  you  please,  and  then  proceed  to 
paint  the  various  parts.  This  would  be  best  if 
done  with  enamel  paint,  the  colours  used  being 
black  and  dark  yellow,  the  usual  colours  of  fire 
engines,  the  wooden  parts,  with  the  exception  of 
the  wheels,  being  painted  black,  and  the  metal 
parts  dark  yellow.  The  spokes  of  the  wheels, 
together  with  the  buckets  and  ladder,  would 
look  best  if  done  with  vermilion. 

The  battery  power  required  will  necessarily 
be  rather  large,  on  account  of  the  large  amount 
of  work  required  to  force  the  jet  out.  Two  or 
three  cells  should,  however,  be  sufficient  to 
throw  the  water  some  distance,  if  you  have  made 
the  working  parts  accurately.  When  you  wish 
to  work  the  fire  engine,  fasten  one  end  of  a  piece 
of  india-rubber  tube  to  the  end  of  the  pipe  which 
proceeds  from  the  force  pump,  and  allow  the 
other  end  to  dip  into  a  vessel  containing  water  ; 
then  take  the  hose  and  jet,  which,  by  the  way, 
should  be  coiled  round  a  small  upright  piece  of 
wood,  placed  at  R  (see  Fig.  2) ,  fit  it  on  to  the 
top  of  the  air-chamber,  and  turn  the  electric 
current  on,  when  the  whole  apparatus  will  begin 
to  work. 


THREE  DESIGNS  FOR  FRET- 
WORKERS. 


(For  Illustration!  see  Folding  Sheet  presented  with  this  Part.) 
AM  inclined  to  doubt  whether  there  is 
a  pursuit  so  eminently  suited  to  an 
amateur's  powers,  or  one  that  can  be 
followed  at  so  small  an  initial  cost,  as  can  fret- 
work. In  the  first  place,  an  outfit  quite  suffi- 
cient for  an  amateur's  purpose  may  be  procured 
nowadays  for  a  few  shillings,  and  even  treadle 
machines  are  offered  at  such  low  prices  that  one 
hesitates  to  give  himself  up  to  the  labour  of 
hand-sawing.      Then    the    space    required    for 


THE  DIALYTE    TELESCOPE. 


609 


working  is  so  inconsiderable,  that  hand-sawing 
may  be  done  at  any  kitchen  table,  and  a  treadle 
machine  occupies  less  space  than  an  ordinary 
sewing  machine  ;  therefore,  any  spare  corner  that 
is  light  will  serve  for  its  location.  Wood  is  cheap, 
and  the  facility  with  which  any  person — pre- 
viously ignorant  of  the  process — can  turn  out 
creditable  specimens,  procures  for  the  art  many 
votaries  who  make  it  the  occupation  of  their 
leisure,  and  are  charmed  with  the  interesting 
results  they  can  achieve  in  it. 

The  mission  of  fretwork  is,  without  doubt,  to 
beautify  the  home,  and  the  amateur  very  soon 
will  discover  how  far  its  application  may  be 
extended  to  household  adornment.  He  will  be 
eager  to  produce  many  knick-nacks  that  his 
dwelling  knew  not  hitherto,  and  will  find  oppor- 
tunity in  every  chamber  for  an  exhibition  of  his 
skill.  In  fact,  where  a  fretworker  flourishes 
there  need  be  no  lack  of  embellishment,  and 
empty  corners  may  be  deprived  of  bare  angu- 
larity, and  filled  with  his  handiwork. 

It  is  not,  however,  my  intention  to  hysterically 
eulogise  the  advantages  offered  by  fretwork, 
but  rather  to  point  the  reader  to  a  means 
whereby  he  may  derive  pleasure  and  satisfac- 
tion in  home  work  ;  to  this  end,  examples  of 
such  articles  that  an  amateur  may  employ  his 
skill  upon  are  shown  upon  the  folding  sheet 
accompanying  this  part.  If  the  amateur  feel 
inclined  to  depart  from  these  designs,  he  must 
carefully  preserve  their  character. 

Taking  the  photo  frame  as  the  most  important 
of  the  three,  there  is  no  particular  amount  of 
instruction  necessary  for  making  it  ;  but  I  will 
make  a  suggestion  that  it  be  made  in  different 
woods,  to  vary  the  flatness  that  fretwork  generally 
exhibits.  For  instance,  the  cupids  may  be  sawn 
from  sycamore  or  maple,  and  the  foliage  sur- 
rounding them  may  be  of  mahogany,  whilst  the 
actual  frame  might  be  of  walnut.  A  backing 
of  stout  brown  paper  will  strengthen  the  whole, 
and  the  paper  at  back  of  the  sawn-out  spaces 
could  be  cleared  away  when  all  has  become  dry. 

The  frame  maybe  altered  to  become  a  double 
or  triple  frame — a  style  very  popular  at  present. 
Again,  it  may  be  cut  small  enough  to  hold  a 
carte  photo.  But  a  greater  departure  will  con- 
sist in  adapting  the  design  for  a  wall  bracket  by 


re-arranging  (re- drawing,  if  necessary)  the 
amorini  and  scrolls,  and  by  filling  up  the  blank 
aperture  with  more  scrolls,  or  with  geometrical 
forms. 

The  pen  rack  will  be  a  useful  addition  to  the 
belongings  of  anyone  who  has  a  deal  of  writing 
to  do,  especially  if  he  delight  to  surround  him- 
self with  beautiful  objects.  It  may  be  constructed 
in  accordance  with  the  intention  of  the  designer, 
or  it  may  be  curtailed  if  thought  too  long.  It 
will  also  be  found  easy  of  adaptation,  and  I 
imagine  that  very  little  alteration  would  trans- 
form it  into  a  book-holder.  Taken  as  it  stands, 
and  sawn  out  of  metal  of  suitable  thickness,  an 
ordinary  perception  will  at  once  discover  that  it 
may  be  used  as  a  finger-plate. 

The  third  and  last  design  will  commend  itself 
to  the  amateur  who  indulges  in  the  "  weed."  It 
is  a  contribution  to  the  orderly  arrangement  of 
the  household.  I  expect  that  it  will  also  receive 
the  commendation  of  the  lady  to  whose  care  is 
committed  the  tidiness  of  the  home,  for  I  have  no 
doubt  she  could  tell  a  tale  of  foul  tobacco-pipes 
lain  carelessly  in  inappropriate  places.  It  may 
be  made  from  walnut  or  mahogany,  with  a  care- 
ful attention  given  to  the  correct  outline  of  the 
mask  occupying  the  centre  place.  This  pipe 
rack,  being  in  itself  a  member  of  the  bracket 
family,  needs  but  a  little  amplification  to  be  the 
exact  thing. 

In  conclusion,  I  would  make  one  more 
suggestion ;  and  that  is,  if  the  amateur  aim 
higher  than  mere  fretwork,  he  may  reproduce 
either  of  these  designs  by  a  process  of  inlaying. 
If  he  elect  so  to  do,  the  material  he  uses  may 
be  less  stout  than  is  usually  employed  for  fret- 
work ;  but  the  whole  will,  in  that  ease,  require  a 
backing  of  thin  wood,  the  grain  of  which  must 
be  at  right  angles  with  the  work  superimposed 

upon  it. 

_ — «. 

THE   DIALYTE  TELESCOPE: 

AND  HOW  TO  MAKE  IT. 
By  0.  BECKERLEGQE. 


SVEEY  amateur  astronomer  will  be  ac- 


quainted with  the  fact  that  telescopes 
are  broadly  classified  as  refractors  and 
reflectors ;  also   that   reflectors   are  of  various 


610 


THE   DIALYTE    TELESCOPE. 


types,  known,  after  their  inventors,  as  New- 
tonian, Gregorian,  etc.  But  there  are  many 
who,  perhaps,  are  not  aware  that  between  the 
telescope  of  Galileo,  and  the  more  perfect  achro- 
matic, such  as  is  generally  used,  there  is  a 
compromise,  invented  by  Mr.  Alexander  Rogers, 
and  sometimes  called  after  him,  but  more  fre- 
quently known  as  the  dialyte,  from  the  fact  that 


composed  of  crown  and  flint  glass,  which  are  of 
different  density,  by  means  of  which  an  object 
is  seen  free  from  colour.  If  the  reader  has 
gone  through  my  articles  on  light,  he  will  have 
seen  how  prisms  break  up  and  disperse  a  ray 
of  light.  A  lens  is  practically  an  infinite 
number  of  prisms.  As  each  colour  is  refracted 
to  a  different  degree ;  when  a  lens  is  in  focus, 


■■   ■■■    ■  -— — . .. ..  .^,— —-,-.. 


& 


3U 


-^M^^JK 


3r 


s%- 


-=r 


r,  :  

\vsfl— 


FIG  .  I. 

~  ■         ■■■■/.<. 


FIG.     3 


a 


jB 


F!  C  .  5. 


°i^i|^^^TJ 


FIG.  2. 


FIC.6. 


"••'•••  --:"    .^-'^ 


DESCRIPTION  OF    FIGURES. 


FIG.  I. — DIALYTE  TELESCOPE  COMPLETE.  FIG.  2.— THE  CELL  D  CARRYING  THE  FRONT  O.G.  AND  SCREWED  INTO  THE 
BODY  TUBE  C;  TWO-THIRDS  FULL  SIZE.  FIG.  3.— THE  CELL  CARRYING  CORRECTORS;  A,  CROWN  GLASS;  B,  FLINT 
GLASS  ;  D,  FLANGED  RING  TO  RECEIVE  THE  CELL  E  ;  G,  ADJUSTING  TUBE,  TWO-THIRDS  FULL  SIZE.  FIG.  4.— PINION. 
FIG.  5. — COVER    TOR    PINION.       FIG.    6. — ARRANGEMENT  OF  FILES   AND  SLIPS   OF  WOOD  TO  CUT  A  RACK  ;   A,  B,  C,  FILES. 


the  O.G.  proper  is  divided;  the  word  dialyte 
meaning  to  divide. 

There  are  certain  advantages  and  disad- 
vantages pertaining  to  this  kind  of  instrument. 
The  fact  that  it  has  not  been  put  into  the 
market  by  any  maker,  will  naturally  be  con- 
sidered unfavourable ;  at  the  same  time,  it 
must  be  admitted  that  many  amateurs  who 
have  worked  for  love,  have  produced  exceed- 
ingly good  results. 

As  most  of  my  readers  are  aware,  a  first-class 
achromatic  O.G.  is  built  up  of  three  lenses 
cemented    together.     This    compound    lens    is 


there  are  certain  colours  which  are  still  out  of 
focus,  and  which  appear  as  a  ring  of  colour 
round  the  object,  either  blue  or  red,  depending 
on  the  position  of  the  lens.  Now,  it  will  be 
easily  seen  that  if  a  second  lens  is  used  of  a  dif- 
ferent density,  so  as  to  bend  the  extreme  ends  of 
the  spectrum  to  the  same  point,  the  result  will  be 
a  nearly  colourless  object.  A  piece  of  glass  for 
optical  purposes  must  be  absolutely  of  the 
same  density  throughout,  else  the  image  of  an 
object  will  be  distorted.  Look  at  a  distant 
chimney  through  ordinary  window  glass,  and 
the  outline  will  be  irregular,  simply  because 


THE  DIALYTE    TELESCOPE. 


611 


of  the  glass  is  not  even  through- 
out. The  larger  the  disc  of  glass,  greater 
.ire  tiie  chances  that  there  will  be  flaws  ;  hence 
Xapidjhjjrises  with  the  size.  To  have 
three  discs,  then,  of  the  same  size  equally 
perfect. optically,  ami,  further,  ground  to  pre- 
cisely of  a  given  curve,  so  as  to  admit  of  their 
being  cemented  together,  will  naturally  require 
much  care.  But  suppose  we  divide  the  O.G. 
into  two  or  more  pieces,  and  one-half  the 
distance  between  the  O.G.  proper  and  its  focal 
point  we  place  the  lenses  for  correction,  it  is 
clear  that,  practically,  we  shall  need  these  only 
one-half  the  diameter  of  the  front  lens.  As  the 
price  rapidly  decreases  with  diminished  size, 
and  the  lens  at  this  point  can  be  made  to  do 
substantially  the  same  work,  we  have  given 
results  with  greatly  minimised  cost. 

The  following  are  formulae  which  have  been 
worked  out  by  several  practical  men  and  clever 
amateur  opticians,  and  which,  if  faithfully 
followed,  will  give  good  results  ;  but  it  must  be 
always  understood  that  the  object  must  be  kept 
in  the  centre  of  the  field,  else  there  will  be 
distortion  : — 

1.  Front  object  glass,  8i  inches  in  diameter  ; 
equi-convex,  130  inches  radius.  Correctors — 
4 J  inches  diameter  convex  crown,  130  and  12-5  ; 
4J  inches  diameter  meniscus  flint,  130  and  12-5  ; 
density  of  crown=2-5  ;  flint=3-65  ;  combined 
focal  length,  11|  feet;  virtual  focal  length, 
13  feet ;  thus  the  magnifying  power  at  11  \  feet 
is  equal  to  an  O.G.  of  13  feet. 

2.  Front  O.G.  1\  crown  glass  radius,  76-9  and 
175*1  (most  convex  side  outside).  Correctors — 
4  inches  plain  convex  crown  radius,  9  inches; 
4  inches  double  concave  flint  radius,  161-1  and 
9-97  inches  (crown  next  to  crown,  with  the 
flatted  sides  together). 

3.  Front  O.G.  4J  French  plate  double  convex 
focus,  60  inches;  radii,  240  and  24  inches. 
Correctors — 2+  double  dense  flint  piano  concave, 
3£  ;  1\  plate  glass  piano  convex,  3J  (piano  sides 
together). 

4.  Front  O.G.  hard  crown,  4 inches  diameter ; 
focus,  60  inches;  equi-convex,  61 -2  inches. 
Corrector  —  2  inches  diameter  crown  double 
convex,  radii  7-7  and  15-2;  2  inches  diameter, 
flint  double  concave,  radii  10-45  and  15-2. 


Doubtless,  any  amateur  ambitious  of  making 
one,  will  find  amongst  the  four  referred  to  that 
which  will  suit  his  plan  and  pocket.  Sup- 
posing he  intends  to  grind  his  own  lens, 
then  great  care  must  be  used  in  selecting  the 
glass,  that  it  is  of  equal  density  throughout ; 
there  must  be  neither  strife,  bleb,  or  bubble, 
else  all  labour  expended  on  it  will  be  in  vain, 
for  no  matter  how  carefully  it  may  be  finished, 
objects  will  be  distorted,  and  the  instrument 
will  be  useless.  If,  on  the  other  hand,  it  is 
decided  to  procure  the  lenses  from  an  optician,  it 
will  be  necessary  to  see  that  they  are  perfect  in 
respect  to  the  points  indicated,  and  that  they  are 
centred ;  that  is,  that  the  edges  are  finished  so 
that  the  optical  axis  is  coincident  with  the  centre 
of  the  lens. 

In  giving  hints  and  methods  of  construction, 
it  will  be  necessary  to  have  some  fixed  measure- 
ment, and  as,  perhaps,  the  smallest  size  will  be 
considered  the  most  desirable  one  for  a  beginner, 
we  will  fix  upon  it. 

Fig.  1  gives  a  sectional  view  on  a  scale  of 
1  inch  to  the  foot. 

A  word  on  the  body  tube.  This  must  be  of  a 
kind  to  suit  the  taste  and  means  of  the  amateur. 
It  can  be  built  up  of  paper  in  a,  manner 
described  in  a  former  article.  Tin-plate,  zinc, 
or  wood  may  be  pressed  into  our  service,  though 
for  the  present  we  will  suppose  we  have  to  deal 
with  brass,  which  must  be  §  inch  larger  in  the 
internal  diameter  than  the  O.G.  Brass  tubing 
is  sold  in  two  kinds  :  thick,  at  about  lOd.  per  lb., 
and  a  thin  kind,  with  the  inside  polished  by 
being  drawn  over  a  mandrel ;  this  is  about  2s.  6d. 
per  lb. ;  the  latter  is  generally  used  for  small 
instruments,  and  as  there  is  considerable  dif- 
ference in  the  weight  per  foot,  the  difference 
in  cost  is  not  so  much  as  at  first  would  seem. 
Care  must  be  taken  that  it  is  perfectly  straight ; 
a  slight  bruise  or  two  does  n  ot  matter  so  much, 
as  they  can  be  taken  out  by  the  means  of  a 
burnisher,  made  with  a  radius  of  the  diameter 
of  the  tube.  If  the  tube  is  laid  on  a  piece  of 
level  wood,  with  the  bruises  downward,  and  the 
burnisher  is  worked  on  the  inside  over  them, 
they  will  be  easily  removed.  For  the  4  inches 
O.G.,  which  is  5  feet  focus,  we  shall  require 
4  feet  6  inches  of  tubing ;  this  must  be  cut  in 


^ 


612 


THE  DIALYTE    TELESCOPE. 


two,  one  piece  2  feet  8  inches,  the  other  1  foot 
10  inches;  the  reason  for  this  will  be  seen  as  we 
proceed.  Each  piece  must  be  mounted  on  a 
mandrel,  and  the  ends  turned  perfectly  true. 

A  cell  will  now  be  required  for  the  O.G.  This 
may  either  be  built  up,  or  be  procured  as  a 
casting ;  this  latter  plan  certainly  will  be,  in 
some  respects,  the  easier  and  more  workmanlike, 
though  more  costly.  Fig.  2  gives  a  section  of 
the  cell,  the  pattern  for  which  must  be  \  inch 
larger  outside  diameter,  and  i  inch  smaller 
inside  diameter  than  when  finished.  The  inside 
must  be  turned  out,  leaving  a  bed,  as  shown, 
for  the  O.G.  to  rest  on,  and  just  large  enough  to 
allow  a  shake  ;  else,  if  it  fits  perfectly  tight, 
there  is  danger  of  its  cracking.  The  inside  must 
have  a  thread  chased  on  it,  to  receive  a  collar 
to  keep  the  O.G.  in  its  place  ;  of  course,  it  can 
be  put  in  with  a  bezel,  but  this  is  not  the  best 
plan.  The  outside  must  have  a  thread  chased 
on  it,  and  a  corresponding  thread  chased  in  one 
end  of  the  longer  tube,  to  receive  it ;  the  other 
end  of  the  tube  must  be  packed  up  by  a  ring, 

1  inch  wide,  sprung  into  it,  and  then  soldered. 
The  ring  may  be  made  by  cutting  off  a  piece  of 
tubing  the  same  size  as  the  one  we  are  working 
with,  and  taking  out  as  much  as  will  allow  it  to 
spring   into    the    tube.     A    similar   ring,    but 

2  inches  wide,  must  be  sprung  and  soldered 
into  one  end  of  the  shorter  length,  but  pro- 
jecting 1  inch  ;  on  this  a  thread  must  be  chased, 
corresponding  with  one  cut  on  the  inside 
packing  piece  of  the  other  tube.  The  two 
pieces  can  now  be  screwed  together.  The  ad- 
vantage of  having  the  tube  in  two  lengths  will 
be  manifest  as  we  proceed.  Care  must  be  taken 
that  the  inside  of  the  2-inch  ring  is  turned  true 
and  perfectly  parallel  with  the  axis  of  the  tube. 

Now  take  a  piece  of  tube,  4  or  5  inches  long, 
and  of  a  size  that  when  turned  up  true  on  a 
mandrel  will  slip  into  the  tube,  g,  spring  tight, 
and  without  any  shake  whatever.  We  shall 
require  a  flanged  ring  to  screw  into  this,  as  d 
(Fig.  3) ;  but  before  we  can  finish  it,  we  must 
make  the  cell  for  the  correctors.  Measure  the 
combined  thickness  of  the  two  correctors,  and 
add  to  it  i  inch,  which  we  will  suppose  will  be, 
together,  1 J  inches  ;  this  must  be  the  length  of 
a  tube  of  a  size  to  take  the  correctors,  which  are 


2  inches  in  diameter.     Care  md 

the  tube  is  large  enough  not  to' 

and  not  large  enough  to  admit  i 

tube  must  be  stout,  so  as  to  i 

and  inside  thread  chased  on 

are  trued  up  in  a  lathe,  it  mi] 

disc  of  brass,  e,  say  2£  inche 

the  tube  on  a   chuck,  and 

hole  in  the  disc  If  inches  oTanWI^^^B 

of    the  disc   must   be  milled.      We   have  now 

a  cell  in  which  the   lens  will   nicely  bed.     A 

thread  must  be  chased  on  the  outside,  as  shown 

in  Fig.  3.     The  outer  end  of  the  tube  may  be 

turned  down,  to  save  labour  in  screwing  in  and 

out  the  cell.     A  thread  on  the  inside  receives  a 

ring,  f,  to  keep  the  lenses   in  position.     The 

flanged  ring,  d,  may  now  be  made.     The  central 

hole  must  be  turned  up  and  chased,  to  receive 

the  cell  just  made,  and  the  flange  must  be  chased  ' 

to  screw  into  the  sliding  tube  that  goes  into  c. 

Now,  if  the  lenses  are  properly  centred,  and 
our  work  is  done  with  care,  the  optical  axis  of 
the  lenses  will  be  coincident. 

We  now  require  a  flanged  disc,  with  a  central 
tube,  a  (Fig.  1),  for  the  end  which  carries  the 
eye-piece.  This  may  be  built  up  by  soldering 
a  ring  of  brass  to  a  disc.  Cut  the  ends  of  a 
tube,  4  inches  long  by  If  inches  diameter,  true. 
Before  chasing  the  flange,  solder  the  tube  in  the 
disc ;  mount  it  in  the  lathe,  and  turn  it  true,  so 
that  the  disc  shall  be  perpendicular  to  the  tube. 
(I  would  just  say  here,  once  for  all,  that  it  is  of 
the  utmost  importance  that  the  axis  of  the 
different  tubes  are  perfectly  coincident,  and  that 
central  holes,  whether  to  receive  tubes  or  lens, 
must  be  made  with  the  same  care,  as  the  centre 
of  all  the  lenses  must  be  in  line,  else  there 
will  be  distortion,  and  when  completed,  our 
instrument  will  be  useless ;  of  course,  these 
points  apply  to  all  optical  instruments,  and 
must  not  be  considered  as  a  special  feature  in 
the  instrument  before  us.)  But  to  return  to  our 
work.  For  appearance  sake,  a  ring  should  be 
soldered  to  the  front  end  of  the  tube,  and 
finished  with  a  milling  tool.  Select  a  piece  of 
tubing  that  will  slide  easily,  but  without  shake, 
in  the  collar  now  made,  and  cut  it  off  1\  inches 
long ;  this  is  the  focussing  tube,  to  carry  the 
eye-piece. 


THE  DIALYTE   TELESCOPE. 


613 


We  will  now  turn  our  attention  to  the  rack 
and  pinion.  Unquestionably,  most  persons 
wouL^^nd^^^a^^^M|^^e  to  procure  a  rack 
>m  a  practical  optician.  But 
deemed  advisable  to  make 
lust  proceed  thus: — From  a 
rial  purchase  1\  inches  of 
wire  ;  turn  a  pattern  in  wood 
as  a  (Fig.  4)  :  take  the  pattern  and 
pinion  wire  to  a  brass  founder;  get  him  to  cast 
a  boss  on  one  end  of  the  wire,  not  allowing  the 
wire  to  project  through  the  boss  when  finished  ; 
1^  inches  from  the  boss,  file  the  leaves  away 
down  to  the  core,  leaving  the  pinions  intact  for 
J  inch,  and  file  away  from  this  point  to  the  end. 
AVe  now  have  our  pinion  in  the  rough.  It  must 
be  carefully  centred,  and  turned  up  in  the 
lathe,  as  shown  in  Fig.  4.  Roll  the  pinion  over 
a  piece  of  wood,  so  that  the  leaves  may  make  a 
definite  mark,  that  the  distance  between  each 
leaf  can  be  nicely  measured.  Now  procure  a 
strip  of  brass,  Z\  by  \  by  \  inch  ;  file  it  up 
true.  Take  three  thin  files,  as  thick  as  the 
space  between  the  leaves,  as  shown  by  the 
marks  in  the  wood ;  separate  these  files  by  thin 
slips  of  wood,  as  thick  as  the  leaves  ;  with  one 
of  the  files  cut  into  the  rack  (that  is  to  be)  a 
groove  \  inch  from  one  end  ;  this  is  for  starting. 
Now  tie  the  three  files,  separated  by  the  two 
slips  of  wood  together,  with  the  lower  edge  of 
one  of  the  outside  files,  a  shade  lower  than  the 
other  two  (Fig.  6  will  make  this  plain)  ;  place 
this  in  the  groove  already  made,  and  file  other 
two  grooves  ;  then  insert  the  same  file  in  the 
last  groove  cut,  and  proceed  as  before.'  By  this 
means  we  shall  be  able  to  cut  the  rack  with 
considerable  accuracy.  When  all  the  grooves 
are  cut,  they  must  be  finished  off  one  by  one, 
with  the  edges  nicely  rounded  off  and  smoothed. 
It  will  be  a  prudent  thing  to  test  the  rack  with 
the  pinion  before  it  is  finished,  cutting  to  see 
that  it  is  the  right  pitch.  When  made,  there 
will  be  a  space  \  inch  long  left  at  each  end ; 
these  must  be  filed  away  level  with  the  bottom 
of  the  groove. 

Next,  take  the  focussing  tube  and  make  a  long 
slot  to  receive  the  rack  ;  this  must  be  3  inches  by 
\  inch,  starting  atf  inch  from  the  inner  end.  To 
make  it,  proceed  thus  :  with  a  scriber  draw  a 


line,  3  inches  long,  parallel  with  the  axis  of  the 
tube,  also  one  \  inch  from  it  on  each  side ;  a 
series  of  punch  marks  are  made  on  the  central 
line,  and  as  much  metal  as  possible  taken  out 
with  a  drill,  after  which  the  slot  must  be  filed 
up  true  to  the  marks,  or  the  exact  width  of  the 
rack ;  close  to  the  ends  of  the  slot,  holes  are 
drilled  and  countersunk,  to  receive  small  screws. 
Place  the  rack  in  its  place,  and  see  if  the  teeth 
come  up  level  with  the  outer  diameter  of  the 
tube,  or  whether  they  come  too  high ;  if  too 
high,  they  will  prevent  the  tube  entering  the 
collar  ;  if  not  high  enough,  then  the  pinion  will 
not  have  a  good  bite.  It  may  be  tacked  in  its 
place  with  a  bit  of  solder,  and  holes  must  be 
drilled  in  each  end,  as  in  the  tube;  remove  it,  and 
tap  the  holes  to  fit  a  small  screw ;  replace  it,  and 
finish  off.  We  shall  now  need  a  small  casting, 
1  by  f  inch,  to  form  a  cover  to  keep  the  pinion  in 
its  place.  The  under  side  must  be  filed  to  a  curve 
to  fit  the  tube ;  it  is  cast  with  a  recess  on  the 
under  side,  to  take  the  pinion  ;  of  course,  it  can 
be  worked  out  of  the  solid,  but  a  casting  would 
be  less  labour.  A  hole  must  be  made  in  the 
collar,  \  inch  square,  and  \\  inches  from  the 
end  furthest  from  the  eye-piece.  Place  the 
focussing  tube  in  the  collar,  so  that  the  rack 
shows  through  the  hole ;  lay  the  pinion  in  its 
position,  and  mark  where  the  spindle  bears  on 
the  collar ;  with  a  rat-tailed  file,  take  away 
sufficient  to  allow  the  pinion  a  good  bite  on  the 
rack.  Now  place  the  cover  on,  and  see  where, 
and  how  much  has  to  be  taken  away  to  allow  the 
cover  to  fit  solid  on  the  collar.  Be  careful  that 
no  more  is  taken  away  than  is  necessary,  as  there 
must  be  no  shake  in  the  pinion.  Four  holes 
must  be  drilled  in  the  cover  and  through  the 
collar,  those  in  the  collar  to  be  tapped  to  receive 
small  brass  screws ;  those  in  the  cover  are 
slightly  larger,  and  are  not  tapped. 

Trunnions  must  be  screwed  to  the  sides  of 
the  telescope  for  mounting.  Two  strong  pins 
must  be  rivetted,  or  screwed,  and  soldered  into 
two  plates,  which  must  be  screwed  to  the  sides 
of  the  tube. 

When  completed,  the  lens  must  be  removed, 
and  the  whole  of  the  tubes  polished,  drawing  the 
rubber  lengthways.  Take  out  all  scratches  with 
flour  emery,  and  polish  with  rottenstone. 

vol.  ni.  (n.s.) — 3  o 


614 


NOTES  ON  NOVELTIES. 


NOTICE  TO  OUR  READERS. 


HE  publishers  of  Amateur  Work,  Illustrated, 
beg  to  announce  to  the  subscribers  that  the 
New  Series  of   the  Magazine   will    terminate 
*=2     with    the    present    part,   and,   further,   they 
desire  to  give  notice  that  it  is  their  intention  to 

Re-issue  the  Old  Series  in  Weekly  Numbers  at 
One  Penny. 

The  enthusiasm  with  which  the  early  issues  of  this 
Magazine  were  received,  encourages  the  Proprietors  to 
believe  that  a  popular  re-issue  at  a  cheap  price  will  be 
heartily  welcomed  by  the  rising  generation  of  Amateur 
Workers,  and  will  provide  an  opportunity  for  all  who 
desire  it  to  acquire  a  book  that  will  be  useful  for  all  time. 

Each  number  will  consist  of  twenty  pages  of  reading 
matter  and  illustrations,  giving  instructions  how  to  make 
many  articles  for  use  or  ornament  in  the  home  ;  and  the 
re-issue  will  reproduce  all  the  attractive  features  that 
ensured  the  popularity  of  the  Magazine  at  its  inception. 

The  first  Number  will  appear  on  November  7,  and  with 
it  will  be  presented  a  superb  folding  sheet,  containing 
working  drawings  of  a 

Japanese  Wall  Bracket  in  Fretwork. 

Monthly  parte  will  be  published  at  Sixpence. 


NOTES  ON  NOVELTIES. 

By  THE  EDITOR. 


HE  'VICTOR'  CHILD'S  CARRIAGE.— Messrs. 
Marris  and  Cooke,  Grimsby.  The  originator 
of  the  mail  cart, when  he  introduced  bis  inven- 
tion to  the  notice  of  the  public,  could  never 
have  anticipated  the  welcome  awaiting  it,  nor  could  he 
have  foreseen  that  it  would  be  so  universally  adopted  as  it 
has  been.  If  his  efforts  were  only  directed  to  provide  a 
toy  for  children's  use,  they  were  at  once  crowned  with  suc- 
cess, for  the  new  go-cart  rapidly  became  popular ;  but 
beyond  being  a  companion  for  children's  romps,  it  has 
developed  into  more  sober  uses,  and  even  parents  now  do 
not  hesitate  to  impel  it  along  the  pavement.  In  fact,  a 
luxurious  carriage  superseding  all  other  aids  to  children's 
locomotion  has  evolved  from  the  crude  original  construc- 
tion of  the  mail  cart,  and  it  has  been  widely  adopted  for 
the  constitutional  airings  of  Young  England.  Comfortable 
and  convenient,  however,  as  the  fittings  of  the  later  mail 
carts  may  be,  yet  it  has  been  reserved  for  Messrs.  Marris 
and  Cooke  to  make  still  greater  improvement,  and  they 
have  produced  a  child's  carriage  which  for  perfect  safety 
has  never  yet  been  surpassed.  In  the  first  place,  the  'Victor' 
carriage  is  provided  with  shafts,  bent  upwards,  and  suf- 
ficiently high  to  prevent  the  objectionable  slant  which 
characterised  the  progress  of  those  possessing  straight 
shafts,  and  this  improvement  enables  an  adult  to  impel  the 
car  without  the  discomfort  of  a  stooping  position.  One  of 
the  advantages  which  the  car  provides,  is  that  a  child  may 


sit  upon  the  front  seat  either  facing  or  with  back  to  the 
person  who  holds  the  handles ;  another  arrangement 
enables  a  child  to  lie  at  full  length  as  upon  a  bed;  and 
these  considerations  will] 
very  young  children, 
made  of  good  material, 
durability ;  and  its  pried 
capabilities  are  taken  ink 
at  Messrs.  Whiteley's,  Wj 


AMATEUR  WORK  PRIZE  SCHEME. 

EESULT   OF  COMPETITION  XVII. 


XVII. — A  Prize  of  One  Guinea  given  for  the  best 
Specimen  of  Wood  Carving. — With  a  view  of 
invoking  a  spirit  of  emulation  among  the  sub- 
scribers, and  in  order  to  render  more  attractive  the 
already  attractive  pages  of  Amateur  Work,  Illus- 
trated, the  prize  scheme  was  instituted  at  the 
commencement  of  the  present  volume ;  and  each 
month  since,  the  proprietors  have  offered  one  or 
more  prizes  to  be  contested  for. 

The  subjects  were  all  chosen  after  grave  consideration, 
and  their  character  was  varied,  so  as  to  give  a  chance 
to  followers  of  more  than  one  branch  of  amateur 
work  ;  and  that  these  subjects  were  quite  fitted  to 
the  capacity  of  amateurs,  I  have  ample  evidence  in 
approving  letters  that  have,  from  time  to  time, 
reached  me.  The  result  of  these  competitions  has 
been  to  prove  that  amateurs  are  generally  pains- 
taking, and  can  produce  good  work  when  they 
devote  their  energy  and  attention  to  whatever  task 
they  take  in  hand. 

Looking  over  the  specimens,  my  attention  is  first  arrested 
by  a  circular  panel,  it  being  a  rendering  of  the 
central  figure  of  the  pediment  of  the  carved  over- 
mantel which  was  the  subject  of  the  folding  sheet 
given  with  Part  34,  and  is  very  well  executed.  The 
competitor  whose  work  this  is,  has  done  well  to 
complete  it  in  the  space  of  time  since  the  publica- 
tion of  that  Part,  and  he  has  drawn  his  figure 
admirably,  the  relief  being  shown  in  a  masterly 
fashion.  To  this  competitor,  Mr.  William  Page, 
Ravenglass,  viti  Carnforth,  I  award  the  sum  of 
Half-a-Guinea. 

I  am  compelled  thus  to  divide  the  prize,  because  there  is  a 
specimen  which  equals  in  excellence  the  above ;  it 
is  a  finger-plate  representing  oak  and  ivy  entwined, 
conventionally  treated,  and  may  be  described  as  a  fine 
piece  of  work.  To  the  carver  of  this,  Mr.  James 
W.  Partridge,  Alvechurch,  I  also  award  the  sum  of 
Half-a-Guinea. 

The  following  specimens  are  highly  commended  :— An  oak 
panel,  by  Mr.  Predk.  Holt ;  an  oak  panel,  by  Mr. 
William  Clarke  ;  a  mahogany  panel,  by  Mr.  P.  A. 
Rathbone  ;  and  I  think  it  only  fair  to  say  that  these 
three  panels  exhibit  but  little  inferiority  to  the 
carvings  which  have  gained  the  prizes. 


AMATEURS  IN  COUNCIL. 


615 


AMATEURS  IN  COUNCIL. 

SEA  DEBS. 

ateur  Work  In  the  Colonies. 

-nd,  M.D.,  writes :- 
1  for  the 
i  '  Amat«r.rs  in 
reous  replies 
indents.  A  short  time  ago, 
lime  surplus  copies  of  'Ours' 
Othe  Bishop  of  Rupert's  Land,  asking 
him  to  introduce  the  work  into  S.  John's 
College,  and  suggesting  that  the  bound 
volumes  would  make  excellent  prizes 
in  a  country  where  self-help  was  so 
much  needed.  He  kindly  replied  that, 
unfortunately,  the  college  was  too 
young  to  provide  a  workshop,  and  that 
there  was  no  one  on  the  staff  with  mv 
hobby.  I  have  not  done  with  that 
Bishop  yet,  and  I  have  still  hopes  of 
getting  something  done.  Anyway,  I 
wish  you  would  send  me  some  pro- 
spectuses of  Ajlateur  Work,  for  I  have 
torn  all  the  notices  out  of  my  monthly 
parts,  and  given  them  away.  By-the- 
bye,  I  am  surprised  that  manufacturers 
and  sellers  of  tools,  etc.,  do  not 
advertise  more  with  you.  The 
Americans  are  a  great  advertising 
people,  and  are  always  ready  to  send 
their  catalogues  gratis.  I  have  quite  a 
pile  of  them,  and  if  I  have  not  bought 
anything  at  the  time,  others  have  on 
seeing  the  catalogue.  I  have  spent 
about  150  dollars  with  the  John 
Wilkinson  Company,  of  Chicago, 
merely  by  seeing  a  recommendation  of 
the  firm  from  a  Jamaica  correspondent 
in  '  Amateurs  in  Council.'  The  firm 
above  mentioned  sell  almost  every- 
thing, or  will  get  anything  j  ou  want 
with  the  utmost  civility.  Please 
inform  my  kindly  correspondent,  '  E,' 
that  I  have  found  out  that  the  soapy 
substance  found  on  the  banks  of  the 
Souris  is  a  form  of  fuller's  earth.  In 
passing,  I  wish  that  more  amateurs 
would  come  forward,  and  give  us  poor 
fellows  on  the  '  boundless  prairies ' 
and  elsewhere  the  benefit  of  their 
discoveries  in  'Amateurs  in  Council.' 
That  portion  of  the  magazine  i3  not  as 
strong  as  it  might  be,  or  rather  ought 
to  be,  with  so  many  readerB.  My  house 
is  furnished,  and  uniquely  too,  from 
designs  in  '  Ours,'  thanks  to  Mark 
Mallett,  '  The  Mock  Turtle.'  But  why 
should  I  specify,  when  I  owe  so  much 


to  all,  and  especially  to  Mr.  Gleeson 
White.  And  now,  with  every  good 
wish  for  the  success  and  long  life  of 
Amateur  Work  and  its  staff,  I  will 
conclude  this  letter." 

[If  every  subscriber  to  Amateuh 
Work,  Illustrated,  promoted  the 
welfare  of  the  magazine  with  the  same 
amount  of  diligence  and  zeal  as  you 
appear  to  do,  I  might  congratulate 
myself  upon  increased  circulation,  and 
success  would  be  sustained  and  ensured. 
As  it  is,  however,  your  letters  are 
always  welcome  for  the  cordiality  they 
express ;  and  it  is  because  I  am  delighted 
to  read  them,  and  because  I  desire  my 
staff  may  share  my  satisfaction  at  the 
knowledge  of  the  appreciation  the 
articles  find  even  in  the  remote  regions 
of  Manitoba,  that  I  print  your  com- 
munications. I  have  forwarded  your 
letter  to  Mr.  Dwyer. — Ed.] 

Division- Plate. 

H.  Aubrey  Husband,  writing  to  the 
Rev.  J.  L.  Dwyer,  B.A.,  says : — "  I 
must  apologise  for  troubling  you,  but  a 
division-plate  is  a  great  trouble  to  me. 
Could  I  not  get  a  flat,  circular  plate  of 
iron,  steel,  or  gun-metal,  and  by  the 
aid  of  a  protractor  draw  lines  from  the 
centre  to  the  circumference,  and  then 
drill  holes  along  the  lines  so  drawn  ?  I 
have  looked  through  the  catalogues  1 
have,  but  find  no  mention  of  division- 
plates.  My  lathe  is  a  5-inch  centre, 
made  by  the  Seneca  Falls  Manu- 
facturing Company,  and  known  as  the 
'  Crown  Lathe.'  May  I  venture  to 
ask  you  to  give  me  and  others  some 
makeshifts  ?  Please  bear  in  mind — as 
my  old  and  venerated  teacher,  the  late 
Professor  James  Lyme,  of  Edinburgh, 
was  wont  to  say — that  a  patient  thanked 
you  more  for  curing  him  of  a  simple 
but  painful  ailment  than  for  taking  off 
his  leg  in  thirty  seconds.  So  it  is  with 
other  things  besides  surgery.  Things 
too  simple  to  you  now  are  what  we  want 
out  here.  Thanking  you  for  past 
assistance.  P.S. — Could  not  a  paper 
scale  of  a  division  -  plate  be  glued, 
pasted,  or  otherwise  fixed  on  a  metal 
plate,  and  the  holes  drilled  ?  '' 

The  Rev.  J.  L.  Dwyer's  reply : — 
"  It  is  within  the  bounds  of  possibility 
to  divide  a  plate  fairly  well  by  means 
of  a  protractor  or  compass,  but  it 
would  require  the  patience  of  Job,  and 
the  drill  has  an  unenviable  knack  of 


running  away  from  the  point  marked 
for  its  centre,  even  when  that  point  is 
found  out.  A  cogwheel  does  very  well 
for  a  makeshift  division  plate,  the 
spring  pointer  being  made  to  fit  exactly 
between  the  teeth.  A  paper  scroll 
might  do  as  a  guide,  but,  then,  the 
centres  of  the  marks  on  the  scroll  must 
be  found,  and  that  is  not  easy." 

Simple  Ornamental  Turning. 

The  following  letter,  relating  to 
transactions  between  the  Rev.  J.  L. 
Dwyer,  B.A.,  and  ' '  Clericus  Secundus," 
is  printed  in  order  to  stimulate  others 
who  desire  to  try  their  hand  at  orna- 
mental turning.  The  latter  gentleman 
had  accepted  the  offer  of  the  author  of 
the  papers  dealing  with  that  subject,  to 
mark  off  a  division-plate  for  him,  and 
this  letter  acknowledges  the  obliga- 
tion : — 

"  The  plate  has  just  come  to  hand, 
sufe  and  not  damaged,  though,  from 
the  look  of  the  package,  it  seems  as  if 
the  postal  authorities  had  looked  upon 
your  repeated  exhortations  to  careful- 
ness as  a  good  joke — certainly  not  to 
be  taken  seriously.  However,  all  is 
well  that  ends  well,  and  the  plate  is  a 
most  handsome  one.  I  am  more  obliged 
to  you  than  I  can  say,  and  am  only 
sorry  that  you  should  have  given 
yourself  any  anxiety  as  to  the  unavoid- 
able delays.  I  ought  to  have  written 
(my  very  scanty  leisure  must  be  my 
excuse)  to  assure  you  that  there  was  no 
very  especial  hurry,  as  I  was  engaged  in 
the  pressing  but  very  uninteresting  job 
of  building  a  fowl-house ;  this  is  now 
nearly  completed,  and  I  shall  soon,  I 
hope,  be  able  to  set  about  making  the 
tools,  as  per  articles  in  Amateur  Work, 
and  for  which  I  already  have  the 
castings  and  forgings.  I  have  also  put 
up  an  overhead ;  so  you  see  I  am  in 
earnest.  Allow  me  once  more  to  thank 
you  for  your  exceeding  kindness. 
Should  any  opportunity  occur,  I  shall 
be  delighted  to  prove  my  appreciation 
by  rendering  you  any  service  in  my 
power." 

Self- Acting  Fountain. 

"  M.  P.  W."— In  Parts  25  and  35, 
Old  Series,  Amateur  Work,  Illus- 
trated, you  will  find  articles  giving 
description  of,  and  instructions  for 
making,  a  self-acting  fountain.  These 
Parts  are  still  procurable  on  appli- 
cation. 


616 


AMATEURS  IN  COUNCIL. 


Sliding  Doors  for  Book-Case. 
Tonbridgian. — Allow  me  to  point 
you  to  the  elaborate  design  for  book- 
case with  sliding  doors,  which  appears 
in  this  month's  Magazine,  from  the 
fertile  imagination  of  Mr.  J.  Scott.  No 
doubt  this  will  supply  you  with  the 
directions  you  ask  for  ;  or  perhaps  you 
can  turn  the  article  about  and  extract 
from  it  information,  and  adapt  it,  if 
not  quite  suitable,  for  your  purposes. 

Shocking  Coil. 
Galvanic. — Instructions  on  "  How  to 
make  a  Shocking  Coil  "  were  given  in 
Amateur  Work,  Vol.  V.,  Old  Series, 
page  261.  I  do  not  approve  of  the  use 
of  shocking  coils,  neither  large  nor 
small.  Of  what  use  are  they  in  the 
hands  of  an  amateur  ?  They  are  use- 
less as  a  means  for  curing  disease.  In 
the  hands  of  a  qualified  medical  elec- 
trician they  may  be  employed  in 
special  cases,  but  are  more  likely  to 
do  harm  than  good  in  the  hands  of 
ignorant  persons.  A  coil  having  a  core 
6  inches  by  |  inch,  wound  with  No.  20 
as  a  primary,  and  No.  36  as  a  secon- 
dary coil,  will  give  shocks  strong 
enough  to  kill  a  strong  man.  Do  you 
think  of  getting  amusement  from  such 
a  coil  ?  I  think  the  shocks  will  be  like 
donkey's  kicks,  more  pleasant  to  give 
than  to  receive.  The  author  of  the  little 
coil  described  in  the  back  number  above 
mentioned,  says  that  the  shocks  from 
his  coil,  with  one  half-pint  cell,  is 
"  much  more  shocking  than  is  plea- 
sant."    Cui  bono  9—G.  E.  B. 

Bookbinding. 
Experienced  Amateur. — Assuredly 
rolls  will  do  for  both  back  and  sides  of 
book.  Glaire  must  be  allowed  to  dry 
when  it  is  placed  upon  the  leather  or 
cloth  that  is  to  receive  gilt ;  there  is  no 
need  to  fear  that  the  gold-leaf  will 
adhere  where  the  tool  does  not  touch. 
You  must  varnish  the  leather  entirely. 
"  The  Art  of  Bookbinding "  is  pub- 
lished by  Geo.  Bell  and  Sjn,  Covent 
Garden ;  its  price  is  5s. 

"  Safety  "  Bicycle  Fittings. 
J.  Crane  writes  asking  where  he  can 
obtain  the  fittings  for  the  "  Safety '' 
bicycle  described  in  the  June  Part, 
Vol.  I.,  Kew  Series,  of  Amateur  Work, 
Illustrated?  Write  to  Hillman, 
Herbert  and  Cooper,  14,  Holborn 
Viaduct,     - 


"Nom  de  Plume." 

James  Scott  writes : — "  I  wish  to 
inform  any  readers  who  feel  at  all  in- 
terested in  any  of  my  contributions  to 
Amateur  Work,  that  the  article, 
'  Bookcase  with  Sliding  Doors,' 
appearing  in  this  part,  signed  by 
'  Designer,'  is  my  work.  Writing 
under  noms-de-plume  is  a  practice  not 
at  all  young  in  the  journalistic  world  ; 
and  it  would  have  needed  no  remark 
from  me  at  present  were  it  not  for  the 
fact  of  my  having,  in  the  past,  signed 
my  papers  with  my  own  name.  It 
would  be  uninteresting  to  the  general 
reader  to  be  told  the  causes  which 
induce  me  thus  to  alter  my  signature ; 
and  it  must  Buffice  for  me  to  say  that 
it  is  not  a  very  important  matter 
whether  my  articles  bear  the  cognomen 
of  the  'Bogie  Man'  or  another,  pro- 
viding '  ewallowable  '  fare  is  produced." 

Spots  on  Cloth. 

"  Olericus  Secundus"  asks,  on  page 
520,  for  a  recipe  for  removing  spotB 
(a  combination  of  oil  and  dust)  from 
black  cloth.  I  have  just  been  operating 
on  some  spots  of  the  above  description, 
and  of  long  standing,  with  benzine,  and 
it  removed  them  at  once.  There  is 
scarcely  any  kind  of  stain  of  a  greasy 
nature  that  it  will  not  remove.  It 
takes  off  paint  more  easily  than  turpen- 
tine, and  does  not  leave  such  an 
unpleasant  odour,  being  much  more 
volatile.  Candle-grease  or  wax  also 
yield  to  it  readily. 

Screw-Hammer. 
"  A.  H.  Burnand." — I  am  sorry  to 
tell  you  that  I  do  not  perceive  any 
quality  that  is  particularly  novel  about 
your  screw-hammer,  a  photo  of  which 
is  before  me.  It  is  simply  a  form  of 
shifting  spanner,  with  very  little 
departure  from  others  that  are  obtain- 
able. All  of  these  are  very  useful  tools, 
but  I  do  not  think  there  is  room  for 
another  unless  it  presents  more  note- 
worthy features  than  does  yours.  I  am 
pleased  to  know  that  you  approve  of 
the  magazine.  The  subjects  you 
mention  will  be  found  as  follows : — "  A 
Lathe  Planer,"  in  VoL  VI.,  Old  Series  ; 
"  Model  Boiler,"  Vol.  VII.,  Old  Series  ; 
"Aquarium  Making,"  Vol.  VII.,  Old 
Series;  and  "Pattern-making,"  in  Vol. 
VII.,  Old  Series. 


Paper  Scenes. 

Molyneux  "  asks  the  best  way 
to  mflH^BB^MMUcenes  on  calico, 

sm 

Salisbury   gin 
I 
tlfl  -.till 
crack,  hen 
your  scenes  when 

Clock  for  Reflecting  Telescope. 
J.  D.  A.,  New  Zealand,  writes  : — 
"Having  made  a  reflecting  telescope 
6£  inches  diameter,  I  should  be  glad  if 
some  reader  would  give  instructions  to 
make  a  clock  for  driving  it.  I  should 
like  to  know  the  number  and  size  of 
wheels  required,  and  also  number  of 
teeth  in  each  wheel,  with  description  of 
governor." 

Varnish  for  Violoncello. 

Violoncellist  writes: — "  Could  any 
of  your  readers  inform  me,  through 
Amateur  Work,  how  to  stain  and  var- 
nish a  violoncello?  I  should  like  the 
stain  to  be  of  a  dark  colour.  The  'cello 
has  been  varnished  before.  How  could 
I  best  take  this  varnish  off  ?  " 

Flatting  for  Glass  Jars. 
P.  Bennett. — Grind  your  colour  in 
turps  matching  the  shade  you  wish  to 
imitate  with  Indian  red,  warmed,  if 
necessary,  with  sienna  ;  you  will  find 
those  colours  to  be  a  good  combination 
with  which  to  deal.  Mix  a  small 
quantity  of  varnish  to  give  an  adhering 
quality. 

Telephones. 
"  J.  B.  Molyneux." — You  will  find 
an  amount  of  useful  information  on  the 
subject  of  telephones  in  Vol.  II.,  Old 
Series,  Amateur  Work,  Illustrated. 

Electric  Bell. 
"  S.  A.  L."— "  The  Electric  Bell,  in  its 
Simplest  Form,"  appeared  in  Parts  22 
and     23,    Vol.    II.,    New    Series,    of 
Amateur  Work,  Illusrated. 

Utilising  Sewing  Machine  Stand. 

"J.  S.  B."— Please  thank  J.  L. 
Dwyer  for  his  advice  ;  but  I  think  I 
had  better  buy  a  small  lathe-head,  as  I 
am  not  able  to  turn  metal;  one  other 
question  I  should  like  a  reply  to  is,  what 
dimensions  should  T  or  L  angle-iron 
be  to  make  a  lathe-bed  30  inches  long  ?